The sun. [volume] (New York [N.Y.]) 1833-1916, 1901-02-24
aRtHITfCTIR,I IE,GrE E,HIBITIO>,
~E,ONp >p1l,t

In IT. character OF one of the art. allied
10 architecture. sculpture j. very ully repre-
-ented AZ the League exhibition even, =
lltl" obtrusively. for some pieces block
IA" view OF the walls and in the architectural
room. particularly. the exhibits u-Irp more
than their share Of emphasis. Such an
abundance uf examples mlght seem to ind
cate great increase In the use Of SCulriural
decoration but. IN fact. II H. found 10 be- tn"
product of abnormal conditions. since IT,"
exhibits consist almost entirely Of studies
for The adornment Of III" buildings and
grounds at IA" Pdu-AmerCan Exposition.
one should he Chary of Criticl-ing deCora-
tive work. either of form or color. when seen
apart from III" environment, for which Il i
d"-I gned. These studlcS. when enlarged
IN "~tai" and sci in position. viii gain Of
fectiveue-> by their relation 10 the bullet
lngs AMI the LAYING out Of the grounds-rha
terraces, walk, bridge, lree-. lawns and
water of when they arc only dependent
part. They VIII ion IA AMI be reinforced
by the general animation of III" scene More
over. their pupo-" H. eph"rncral and their
production necc-sarlv hurried. - rh"y
should not he Judged too seriously. On N"
other hand, here they are, exhibited with
ont reservation and counting Comment 80
they cannot be passed over.
Considering their decorative" PURPOSE, one
%deplOr"- their lack of decorative feeling
and IN most eases there l. no compensation
IN -l'npl" dignity style. a. wa- 10 be- cyIrotcd
under the circumstance. baIug practically
absent. The general impression pro luc"d by
thes" exhibits i that they ar" commonplace,
and trivial Fortunately. cher" are cyc.p-
'lon- One Of them is the fgur" by Herbert
adams OF tho Goodies, Of Light" for the apex
81 ih" electric tower 4 nude female " IN
small wing. poised on one foot in act Of tor
ward movement, holding q torch aloft. The
action j. easy, supply balanced. instinct with
life. a chas'e dignirv pervad"~ the figure. and
from every point ia" disposition Of tho line,
J. graceful amt Distinguished. u should
pattern Itself against N" shy most happily.
which Il all N" more commeudahle because
IA" sculptor has not resorted to the additional
and sometimes mcrctrlCinus effectiveness 81
N!Shing drapcry. II would he pleasant "a
! con graduate Nj idam. also on hi. two
groups, svmholi2lng The ,ge Of Fnli gh'cn.
luen'. but the d"corari.o instinct which
reaches success in tho single figure doc moi
extend To The management Of several IN
combination Let II be -.i that the Scnti-
mont of these groups i charming. but This
quality alone will not avail 10 make them
carry IN m" open air when ouiar god Then
II /, the composition that primarily counts.
''' .'f ~ '''' ~ - ~ ' 20 II NNN~
consisting Of a seated ngur. nunkeI hy two
! others, arranged upon a platform. AZ each
corner of WHICH on a lower level b. a d"tact.d
figure. Tn" arrangement I- ORDERLY and
bauuo"d, having, at least. the charm Of
dlgnir"i r"po>c, bur = disconnected without
a ~u~ta Iucd now Of decorative" feeling
ANOTHER example Of the throcfold. bat no,
trluu" composition APPEARS in 3 & Puttcr'-
Group of Animal Wealth. ~ which the CEN
! tril fcatIr" l. a boar upon II. hind leg hold
lng the limp body Of a dead tnwn. while am
early settler sits on one side and an Indian
"r ia" other, can it possibly he intended
a. a mild rrmiui-ccncr oi Tr"miot', tra-
mcndous subjects of bear and orarr-
o~uiaug,: Even by comparison with tine
virility of Mr. rottcr'- usual work { /, almost
mdicrously puerllo. stu nuo,hcr variatiou
IN the tri-divi-ional. boldly pyramldnl. rruup
j. Afforded by Paul " Bartlett, fountain
study, Human Emotions q made gil sitting
on % rock aud stopping 10 hold bet wceu hor
hand- tho fac" of q iaNn who rcclu"- ~ her
foot. "pr~plcuou-ly horned and tailed On
~" ground tn her right l. IA" PROSTATE figure
Of a man, crumpl"d m. auparcntly. with
chaErin one might have = word 10 .,v
about this 'riirly narrow conception of
human EMOTION. filtered through the iul-
agInatupn OF ~" Latin Quarter but let thai
pass Primarily. n j. meant 10 be a docor,-
tly" corul osj'Ion Their" j. some beauty Of
line Ia IN" c%urviug back of the fawn. a sun
plene~S Of oarriHg" and nice suggestion Of
agility in repo,c. hut the liglag lines of the
girl figure are disarrrcablc. and her one leg
cuts IN" composition hnr-hly IN two. while
the PROSTATE form with it, Nat back and
contracted action l. out al ,pirIt with the
movement elsewhere. and not individually
impressive" Til" composition lacks nnity
al design and feeling. beside, being trivial
Tn" same "prthot occurs 10 one IA presence
o' tIVn + lIwcl',- fountain of Gore,
Dismiss all memory uf tho ella sic conception
Ii"r' i a modern Girl. uuduly abbreviated
below a." waist. her head thrown back with
pert oppression. ia" arms appraised Y-ia.hion
She stands upon a littl" wheeled contrivance
cncru-t"d with fruit aud heakod with a
COW head on H." water level AT each side.
hoiug Il We" moose. H. fore feet wchird |
terminating IN q nsh'- body and tul Cor |
respundiugl', IA a companion Il ouut.iu of
krono-, little tVln-hcad"i horses have |
been m-rtamurpho>'i n" ,,nlptor's lacL
II decorative" feeling l. revealed IN the treat
ucnt OF these ii-hN Hpp"uda cc- firm. simon.
movement j. entirely uicN pressed III. forms
are luvcrt"hrato and putt -lik" The figure
of kruI"~ .lHud~ upon a lurtoi~o. forming
"a Gru~- With his out stretched arm. to winch
wing ~" attached -"m'whut IN bat fashion
bach hand huli- IN nrh and ~" trc 81. di,-
ccmrd Through % clingiuv cloth Very
Il. civ the writer will play over II and add
an cN",tuNcn'~- 10 MS device and oven tho
har~lu"~~ # modelling iu ~" nude limbs
may gam -urw. Justification. hut -,"n 10 IA.
sketch g." technique D. n lttl" brutal and
common 1tD" -u 40" >,mhoIi-m uh>,u,..
There j. "heyurf'v also 10 the symbolism |
- ,.- v|. f.r. HI.....-, 4 &c. e. |