New Orleans Republican. [volume] (New Orleans, La) 1867-1878, 1873-11-16
AMERICAN ART lNFLoRENCE.

| but in Florence it seems like business.
studio is a series of rooms filed with bus
workmen, who fill the air with marble dus
| and is about as sesthetically interesting as
| mandatory of tOmbstOnes. When you sc
two wOrkmen boring out Psyche's ear, al
other measuring with great iron splde
| from the tip of Venus nose, and the cupi
| in the corner covered with specks, like som
| peculiar rash to which fat children are liz
| BILE, it is rather difficult to remember tina
back of all this there is supposed to be g
MUS. But remembering it, one wonders If tn
| "Wrestlers" or the Dancing Faun" in tn
Utfiz were hammered out in this way, o
if the touch of Michael Angeles chisel ha
| not something to do with those haunting
| mysteries in the Medici Chapel, or if an.
| one would dare set one of these deft Italia
workmen, be he ever SO skilful, to putting
| his wonderful polish on the unfinished
| Madonna. The painters are at a disadvan
| tage, or possibly an advantage; they nee'
no longer grind their own paints, and the,
may have boy to wash their brushes, bu
who can they trust to lay on their colors
However, we can not afford to quarrel will
our nineteenth century labor saving ma
chimes, be they wood, iron or men.
All things being equal, We have no reason
to feel otherwise than proud of the ranl
which American sculptors take on The
continent. Here in Florence there is E
little knot of men whose fame and reputa
ton are not among the cOuntrymen alone
vide Murray-and there is, as sweet anC
fragrant as the flowers among which he
died, the memory of one who first lifted
American sculpture to it's rank in European
collections. An American can not forget
the proud moment when the Greek Slave
won for US artistic recognition abroad
That day is past; ID could never return
again; but we are none the less grateful.
1t is great thing to be loved as Hiram
Powers was loved, and to have died so
lamented. His friendship was priced more
than that of most men, even by his rivals,
and his genial welcome made one of the
sunniest memories of the stranger. Not
long before his death young gentleman,
going to visit the studio, met him in his
garden, among the vines. and before enter
ing the door he believed in the artist as the
greatest of sculptors, because he loved him.
Powers personality had much to do with
his works. The visitor could scarcely
separate them. Although the studio is now
filed with marbles, it has lost it's greatest
charm. You wander through its rooms be-
cause the sculptor has been there.
The studio is still kept open, and believe
is to be taken charge OF by Mr.. Preston
Powers, who has adopted his fathers pro-
fession. The workmen were as busy as
ever. There is also certain demand for
replicas of Powers works. Although no
woman is willing that her best friend shall
have bonnet just like hers, works of art
go off better in couples. / believe Mr.
Aston stipulated that the California !"
should be unique, and in this manner drove
back those who were ready to jump over
the fence after him, but Mr. Aston was ex-
ceptiOnally courageous
be- k1as &c
the Tribe. a full length female figure which
Mr.. Powers famous old workman, said to
be the best on the continent, was working
on. There seemed to be more elaborate
work on ie than is usual on Mr.. Powers
statues, and greater action. But doubt if it
prove as popular as that repose which is
OF his figures. In another
room a workman was engaged on the statue
of Everett and on a shelf stood the head,
roughly blocked out, Of young italian
who had died some time before, W hich was
the last thing tire sculptor sveE did. In one
room were gathered Numbey of Powers
ideal works and portrait busts, where ono
could compare the sculptor with himself.
Here are California" she ''Greek Slave"
the Ewes" "penseroza," "Allegra," busts
Of Taith, Hope and Charity, and a number
Of portraits. 1t is easy to see just where
Powers genius halted. His portraits are
so admirable. Prom the strong. sturdy
face of Sheridan, the refinement of Long
fellow, to the exquisite portrait of his wife,
he passes with equal facility, ,raqlslatinS
he living into marble. Here is something
before him, manifest 70 the senses; he can
grasp it and reproduce it. In the ideal
world he is limited. He has but one type
placid lOyellness. There is no animation,
10 perception of being. You do not feel
hat warm blood ever eOursed under that
beautiful polish, or shat the human frame !
= more than solid, shapeless mass. The |
'usts OF ''EaiTL.' ''Hope' and Charity"
nay be known by their symbols. These !
night be changed ard serve equally well:
he modelling snows no perception OF differ I
noes; the expressions are alike fame and !
weet.
4 gentleman said 70 me. ''Eu: il the arts.
7ere only here ne could talk TO you, ex-
laining and suggesting. And listening to
i'm you would perceive the most subtle
istinctions, at least think you did. One of 7
ne secrets of Powers fame was his way of !
xplaining his works But / could only
eply, Alas, statues must be sent out into
be world alone, and If their master has noc !
wen eheM the power nj telling WHAT he
lshes them 80 say they must pert,rae be !
lent Mr.. Powers grasp upon The world
bout hin Kas hrirsY and clearer .ban that
|
,a!m OF possibilities his vision wanted this J
lme distinctness. The forms that he cav
ere beautiful. but they were only beautiful.
The most important work now in Mr. !
alls stUCfiV il an Eve, that fair and faulty I
ie Tor whom artists never seem 70 exhaust
elr love. The artistic conception 10 one
hich can be heartily indOrssd. Gene:sllv.
, matter how much 4nen NAV admire her, !
ey can never fesis. remiOIin. one ttas
e has ruined or j. going TO- lncapa-
g OF desiring knowledge. thev slip an
rpents Gail around tree. Mr.. Bali cor
ives her IN her perfect innocence. One ]
OF is q little in advance, she BODY i.
rowH forward. and the head turned !!
ghtly 20 one side. One hand 10 ewinea |
her iuxuYlant half IL . graceful. careless
shion; the right arm is by her eide. but |
art from 10: the fingers are separated. I
d the hand slightly raised. The action is {
Q by which high SreJ woman expresse. /
rprise: and was not this fair creature, S
1t from heaven, such a one 1t is as il her 4
es had just opened on the pleasant world ,
fore heT. The whole lnoyemea i. Sui! of
auty. ignorance aud curiosity. which.
W Socrates. 10 THAT OF the typical woman ;
he Dust, taken from the statue, presents ! [
entirely different character. Instead Of ! y
eonsclvU. beauty We have . conscious ! i
Iuette ]. Is Eve after elk thousand .,
ars of culture. The Transformation j. ! Q
lsed by the elevation Of the shoulders. !
ich in the full length figure 10 accounted ! a
by the movement OF the body. but here .
nears to DC rather an affair of character /
OF: nave pessibly heard of Che west A
nd :os i. has created some little breeze I
the art world. and i. q woman naturally. 7
G 'West Wind is an idea! figure by W q
ulds and - the property OF Demas e.