Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1893-01-28

base fellri although there ARE sons lu
the iull round. He h. greatly rrle.
bfs.e,i for his n4utes OF children.
when are thoroughly charming aud
infantilv.
There are many other Justly cello.
bretej sculptora OF this age, hut we
vii, consider merely certain repte.
sentative ones. His work will have
elements OF truth, beauty and DO yer.
IL 'ngfellow says "Mbat we c,ll
mlracl sand wonders iu art, are not so
10 him who created them; for they
were created by the natural movement
OF his own great soul. Statues, paint.
ing-, churches, pcens, are but shadows
/ OF himself; ahadoHs IN marble, cDlofs,
stone, words. He ieels AMI recognizes
their beauty, hut no thought these
thoughts and produced these things
NJ easily M Inferior minis do thoughts
aud things inferior.
The lovers OF art are many. But the
active Intellect, tho creative power---
the power TO put these shapes aud i'm.
ages In art, TO emb0dy the indefinite
anu render perfect n his alOue.D
Again, WORK ot nrt II not only the
expression nj tho inuiyi iuil taste anu
character u m artist, but IL Ia an OK.
| pr'sdOD (mOrc or less true according
to his gfeatness) Of the taste and char.
acier Of the age AM country ia which
he lives.
For h stance, DO We need any.
thing but tho Greek statues
10 tell us that the Greek
We have now come to the uudis.
| iuted monarch OF them all, Michael
Angelo, who was not only celebrated
asa sculptor nut also as u poet, paiptcr
and architect. Indeed II " claimed
| 10y sOtue writers that his irescoea In the
Sisline chapel nrc his preatest works.
HIS sculpture, with tho exception OF
hie citliest work, has certain exagger-
suons III movement anu anatomy that
make IL n little difficult Tor VA " the
nineteenth century to thoroughly en-
| JOY. However, In his time he exertod
tho greatest Influence ON the art Of the
period, and 20 decided was the effect
OF his peculiar artistic nature upon his
followers, that ON his death he ouly
left behind him imitators Of his style
anu weaknesses.
Lube said OF him that while Michael
| Angelo deeply studied the Muster
works OF antiquity, and created from
them An independent idoal style, Ia
the iree, grand treatment OF the
surfaces, aud Ia the almost abstract
and typical form Of countenanoc, he
on the other side was one OF the lint 10
disregard tradition, and, Ia the sub.
Jects represented by him, only sought
An opportunity for expressing a totally
different idea belonging to himscl!
alone? Indeed, 40 absolutely does this
new principle appear In him that de-
lighting la tbs most touching express
sion OF nn Idea, hs tfihei Tecklossly
with the laws Of natural organization,
which no one had more deeply studied
than himself; he makes them yield TO
bis purpose violating truth ana beauty,
while no ,eeks out cOnstTainsi anu
even Impossible positions, cxasgeratcs
certain physicai forms into colossal
size, and, In tho proud eudcavor to set
aside all allu,ing grace, not unlrc-
queutIy falls into the reverse. Hence
u true estimation mud genuine enjoy.
meat OF his works are extremely Liii'
cult. He says, again, that the eiucrr0
critic will allow that an unpiejudicsd
eye is nj first repealed by these works of
Michael Angelo, but that mysterious
elementary power draws the thought.
fui aud intelligent spectator back
again to the great solitary master, that
then deep examination aud serious
study begin Ia Which gradually the
key to their understanding In found.
Artists as q rule are much more inter.
ested In tne early period " his career,
M his cfeativepower was then pure aud
naive. His David, which I shall show
you picture Of, belongs to this early
period.
After Michael Angelo we have no
names OF any Importance until We
come to Antonio Canova, and although
he certainly WIS much superior to his
immediate predecessors, his works were
not thoroughly original. In the repre-.
| sanitation OF female beauty no attained
| 10 pleasing grace. In monumental
compositions he succeeded less, an l in
heroic compositions such as the two
gladiators and Psrsus, he falls complete.
| Iy into n theatrical style.
Tho next name OF Importance IL tho
Dane, rhorwaldsen, aud he revived
with much spirit aud Imagination the
beauty Of classic arta. Unfortunately,
although richly endowed, he was too
content TO follow, and, unlike the artists
OF the renaissance, did not add 0rlginal
research TO the revelations OF the
antique.
IN modern sculpture we now look to
France, a. she has certaiojy produced
In the last nifty years examples that
are worthy to rank with some OF the
hes, Of the renaissance. Barge as an
animal sculptor has never been sur
passed, aud for subtle study OF the
human body, the work Of some Of tue
living French scuiptors will challenge
comparison with any age.