Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1886-12-05
Prolific SculDtOrS,

A contributor to recent issue OF the
New York Weekly Graphic discusses
"The Condition OF Outdoor Work OF
sculptors In the United States," together
with Passing Influences on the Plastic
Arts" Although the article is intended to
give prominence TO one particular sculptor
whe has been signally prolific. it touches
upon the general subject OF sculpturai art
in a manner worthy OF careful considera-
ton from all interested in the subject. Al
ter naming several American sculptors who
have placed examples Of their work at va.
rious points In the North, the writer in the
Graphic says:
"From the time these artists began to
achieve public reputation they have con.
stantly felt that influence which still OPP
presses and retards the national sculpture
The oppos,tion Of the marbe-yard owners,
who, working with large capital, have
striven from the earliest time to seize upon
every projected monument or public statue
with view to place the craftsmanship IN
the hands Of day-aborers and stone-hewers
to the exclusion OF those who without eapi-
tai have risen 10 international reputation In
plastic arts
This observation Is then emphasized by
the following quotation from late No. OF
the Century:
"There can be no doubt that this system
Ia q dangerous one, The public,
and especially committees, ought TO bear In
mind that the very best artistic talent can
seldom be obtained through middle men,
and that business. men not composed OF
trained artists are as little likely 10 produce
masterpieces OF monumental art ~ literary
bureaus would be likely to furnish on de-
mand, and ut most for.your money prices,
first-ciass novels or inspired poems"
The remarks Of both the writers above
quoted are pregnant with truth. And It
IL lust this condition Of things that has
produced "prolidc sculptors " and flooded
washington and the North, particularly
New York city, with outdoor sculptural
failures. Trade competition In "plastic
art has bad the effect OF making the masse'
satisfied with anything ia the way Of an
outdoor afngy that Is called sculpture aud
docs not amount to positive mon,trosity;
and, rs consequence, there is arapidly-de.
yelopng tendency 10 subordinate genius to
hurried work, or, Ia other words, quality
TO quantity. Not only does the sculptor
who aims to be prolific do himself inius-
tice, but he does injustice TO the public. One
masterpiece will do more to cultivate the
true art taste Of the public and raise Amerl.
can sculpture to the plane upon which 1t
should rest than will hundred merely
passable examples. II should be remem.
bered that masterpieces are not the crca.
tons Of few months. IL Is related OF that
eccentric genius JoEL T. HART that when
some lady chided bin upon taking so long
10 finish bis "Woman Triumphant" he
replied: "Madam, the Almighty never
makes perfect woman under eighteen or
twenty years. DO you expect poor NOR.
til to do better than thati" There Is o
great deal In this quaint answer that the
prolific sculptor would do well TO study.
The prolific sculptor who attains pre-
eiDinenee IL the exception. Indeed
even II we take such exceptionally
rsp,d and prolific creators as TaoRwALosEs