Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1895-03-03
American Sculnturc.

The National Sculpture Society, which
was organized about year and half
ago for the purpose Of developing sculp-
tural art In the United States and elevat-
ing public taste in regard thereto. will
commence in New York early In May its
second annual exhibition. Certainly the
attainment Of the objects Of the society
Is a consummation devoutiy to be wished,
for as has been we'll said. barring some
notable and praiseworthy exceptions,
American sculpture makes a deplorable
showing.
The decline In plastic art, as embodied
in the divorce of the true art idea from
sculpture. has been particularly notice
able during the past quarter Of q CEN
fury. Many causes have contributed 10
this. but none more conspicuously than
the congressional committee sys-
ten and the competitive design system.
The former has filled Washington with
equine monstrosities. and the latter. be-
sides trammelling the sculptor by influ-
encing him TO anticipate the views Of 1.-THE
Judges" has tended to bring sculpture
down to a purely commercial basis.
In the whole list of statues Of heroes In
the national capital-which city. by rea-
son Of its number Of examples, ought to
be In sense school OF art
there are few. indeed. Of which more can
be truthfully said than that they are
reasonably faithful portraitures-that Is,
that in facial lines and general form they
pnf
Of lineament and form Is not art. Por-
trait sculpture. no less than portrait
painting. must in order TO attain to the
plane Of art, have expression, and convey
the spirit and the character Of the subject.
Furthermore, what light, shadow. and
texture and their relations to pose and
flesh tints are in painting. disposition
and subtlety Of line are In sculpture. No
painter or sculptor who has the genuine
art instinct ever puts on a touch that
Is meaningless or is simply designed to
catch the fancy. In the hand that is
guided by genius every movement Of the
brush OF the modelling tool has direct
bearing upon the conception In Its en-
tirety. Another great essential OF sculp-
ture. especially when the subject Is an
historic character. and more especially
when the delineation Ii an equestrian
group Is that the work. irrespective OF
the matter Of portraiture. must tell
story.
What Is true Of portrait sculpture Is. In
many particulars. equally true Of ideal
sculpture. Competition has become so
great. and public taste has become 30
perverted by the introduction Of mediocre.
hastily conceived. and cheap examples Of
the plastic art that the sculptor can
rarely AFFORD to expend the time and
thought necessary TO the Interpretation
In marble or bronze Of a great idea. But
even should he make the sacrifice the
chances are that his work will not be
appreciated. because. owing to the multi
plicity OF pot boilers on the market.
the people have been educated to
Fad" and to what We may term style.
whose only merit Is that Il II pretty
and catchy" The result 10 that the
artist. be he never so gifted. must. In
order to be ''successful." substitute the
initiative for the creative faculty and
subject his genius to dictstion.
How this operates 70 degrade art Il
forcihiy expressed BY Ruskin when hs
says. 'srhe diffsrsncs between The spirit
Of touch Of tha man who y invAntina