The San Francisco call., 1899-02-26

wounded Soldier. Y Ou notice tnaC ne Is
almost nude. This feature of the work
has caused more comment, I suppose
than any other. 1 have received nearly
200 letters asking me why he is not
clothed. This is the story: You see that
broken gun lying on the ground at the
soldiers feet? That gun was broken upon
the soldiers head. He was left for dead
by his comrades. During the period of
insensibility produced by the shock of his
wounds he was robbed of his clothing save
his shirt by a band of marauders. When
he came to his senses he seized his shirt,
drew it from his form and threw 1T across
his loins, where you see 1t in the statue,
and tore it into bandages which you see
him placing as best he can upon his arm.
The strained condition of the muscles and
the pose bring out possibly better than
anything else could the remarkable vigor
and ruggedness of the figure"
Brancony's Maine Monument.
In a certain line of modelling, probably
the best-known sculptor now in America
Is Leopold Brancony, prize medalist of
the Paris salon and the famous author of
the bust of Pope Leo XIII. Shortly after
the destruction of the Maine, Sig. Bran
cony made a design for a monument to
mark this national disaster. The signor
also has decided views upon the question
of the inspiring influence of the late war
upon art.
'I believe" he said, "that the war is
destined to mark a new epoch in art in
this country. 1 have already produced
design for a Maine monument and have
another in view of a Red Cross nurse
The feminine figure in this war appeals
more strongly to me, perhaps. than that
of the soldier. In no other conflict have
there been SO many volunteers among
women of family and wealth. The type
of woman is unusual from physical.
mental and spiritual standpoint. ] have
tried to bring the type out in the leading
figure of the Maine monument, the angel,
but it can be even more forcibly expressed
in that of the Red Cross nurse. There are
great possibilities in the symbolic lessons
of the feminine side of this struggle, and
artists now in America more than the art
lists of any other nation understand the
peculiar differences between the Amerf-
can woman and the women of other lands.
The war is sure, also, to bring out many
military statues and innumerabie fine
busts and war medals"
81 certainly believe" said Mr.. Carr TO
me the other day, :that the war oners
exceptional opportunities for great art
work. l spent four months with the sol
diers in and near Santiago. My picture
of the church at FL Caney was the first
one that 1 placed on exhibition, but l
have material for many others. am now
painting a large canvas illustrating the
execution of the crew of the Virg1nius.
My Ell Caney picture has been criticized
for its fidelity to truth. 1t has been said
that 1 was making play to the galleries,
but this is unjust. l painted war as 1t
ts-as L saw it-and If 1 had omitted some
of the grewsome details l would have
been untrue to my profession"
Views of the War in Art.
"If YOU want to find out the influence
| hazr ort
must come to the dealers, and not to the
! artists" said one of the largest art men
! TO me- 1--WE know the views of the artists
| and the public as well, while the artist
can express only his own views. For my
part. believe that the last war will have
! a marked influence upon art. think that
we have painters who will find In this
struggle an inspiration for some of the
greatest pictures that have been produced
! in the past twenty years in America. The
! public is ripe for works of this KIND. Th1s
| is evidenced by the enormous sales or pic
! lures of the navy, Of the Maine, OF Ha-
yana and of scenes in Cuba during the
| progress of hostilities. This demand mas
! worn off to large degree, but L find that
whenever we present TO our customers
| war picture of merit. whether 1t repre-
| sents a scene from the civil or any for-
egn struggle. 1t attracts instant and
widespread attention
! the Civil War we had no very great
! nainters. Therefore there are no master
| pieces representing that conflict. But
now we have them; and / believe 1t Will
be question of time only till some of our
! American painters produce work repre-
senting this great achievement of the
! American arms in a manner worthy of
preservation for all time
/ Still another phase of the effect of the
| war upon art was described by dealer
who trafics largely in decorative art. He
! said that the military idea was permeat-
! ing every branch of decorative art, so
| much so that other goods suffered great
/ w. PLAQUES representing war scenes at
! Santiago, Siboney and Ell Caney were In
demand; picture frames with designs in
different styles of arms had met with con-
siderable popularity, and those bits of
| statuary which form part of cabinet
furnishings were invariably selected to
! suit the idea of war. Some of the statu-
| cites made after the close of the civil war
which had been useless and unstable for
years were now selling rapidly, especially
| designs IF 1.-The Wounded Soldier Let
ters From Home, and other familiar sub
| jects.
| In engravings, particularly, he found a
! complete change in taste, the demand be-
/ Ing mainly for war subjects. In this field
1 the navy seemed to be the special favor
| ite every battle-ship and officer having
been called for.
! "HE Quadriga OF Frederick MacMon-
| MES has been placed upon the Sol
| diers' and Sailors Memorial Arch at
i the main entrance to Prospect Park,
! Brooklyn, and is attracting much atten-
ton by reason of its artistic beauty. It
is a colossal bronze group representing
the triumph of American arms and the
| dignity of the nation.
| The figure standing in the ouadriga Cor