New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-04-07
ART EXHIBITIONS.
Some Bronze Reproductions Of
Classical SculDtgrc.

s. years ago there was an exhiSI;Ion ~ TIE
Union League Club Of q number Of bronze repro
auctions a. class cal sculpture made 10y 5iguor An
gelo Gel Nero. OF Rome. Thcy stood Cor a notable
enort tg modern craftsruanshlp. "A evort toward
giving IN castings from the antique. qualities more
thoroughly representative OF those belonging to he
originals than ony which had previously been
achieved IN The f1undries CT the dag. Signor del
Nero had accomplished much Ga 1875. but lie HIS
carried his researches ana experiments further in
The intervening period and now shows Us the re-
suits En- sn exhibition ~ the windsor Arcade which
possesses exceptional interest for the student OF
plastic srt cud the reproductive processes related
10 T. About two hundred pieces are shown. incu5-
inr statues and statUcttes. the originals Of which
figure En- various great European museums: some
purely decorative objects and few castings from
tie re curious bronze holsters snakes and lizards.
A group or authentic antiques Is present. enabling
~ observer compare the textures and colors Of
The modern hronZes with those OF the things on
which they are based. Finally. there are few q
siguor Gel Nero's own sculptures shown IN Cay,
in bronze and in photographs
TIE purpose % this exhibition IS largely Elus-
-rate methods Of casting but attention IS neces-
sariv distracted from these. for time At least.
by ths charm OF the collection g sculpture
rrre and simple. Take. so- example. the ''Fa1um
Fortune one cf Jne largest pieces here. The
main point where this beautiful bronze IS concerned
IS that Il makes rs acqua rted with late sixteenth
century figure by Domino 81 Ambroso. CT Croino.
which though familiar 20 travellers who have VS.
flea the Itcle town of Fano. remains. we believe,
r-actIcau- unknown 70 most Americans = IS IN
engaging study from the nude with that Uuear ds-
rctlcn l- its contours ws!ch cIurC 20 tie work Of
she Renaissance even IN the closing stages q the
evolution % that perio5. The wide sweep % TIE
hit 81 Lraporv which Is carried IN Kind or circle
hesird the figure. rs though blown by the wind.
LENDS peculiar dignity 20 essentially picturesque
corcepou The original IS the central factor in the
rrsa- monumental fountain 81 Fono and is raised
- sore hetcft above the level Of the ground. But
this bronze reproduction. made direct from tho
statue and following not only the size hut the pa
Una Of tie original scuptors work, shows US that
.rs latter was modelled with great deal Of
euHtletv In other words. though its beauty was IN
tended 20 arprehcrd from distance 4 loses moth
ing even under The closest scrutiny.
white the bulk ~ SIsaor ael Nero's reproductions
a-e from originals with which every one Is ac-
oraf-fos -re ''f-,-urn Fortuna IS not the only
MASTERPIECE presented which 10 many VIII bring
a comparatively new sensation The famous wax
head iu the Lille Museum Is known as 2 rule. IN
this country from photographs alone. Sign"r Gel
Zero has made an exquisite bronze Of 81. using
patsra exr-acrCl-ari.y rich in cClc- Another mead
having "a certain freshness about Il IS mat OF
woman Csc. 90 which Is a souvenir u Tie FreTeA
school OF the seventeenth century. work alto
ge-ne- cautig-t!uS l1 IT'S vivacity and grace sun
another az these less familiar th'nss IS The Head
e. a child" after Bernia, capital reminder. O.
the felicity Of which shat 200 often conJeInnca
SCULPTOR was capable For tee rest SieUCr DEL Nero
gives rs such classics tie David" Of Ner:oehio'
The Randa.l.l '1reJusa" ~ Munich. he Nike
's,larcisgus" ''Si.auus.' and Dancing Faun" ~
Naples. the 'Ncrcury' OF John Of Bologna. and
the veLled dancer. which IS perhaps tho most en-
trancsrg OK all the TanEara lglrlnes- Ills own &C.
signs Include two figures OF considerable elegance
one OF which, III Cauto della Vita illustrates
very effectively the APPLICATION C silver In iAe
oruarenlation OF bronze: AID g couple u very
handsome canGelahra IN the Poinpeian style with
a winged figure combined IN each with coaveI-
iioually decorative standard With the castings
from Ilfe mentioned above. the rings, bracelets
ind other articles o. personal use and adornment,
and the objects Of old Italian and French work
Tnanship. & may be seen that the exhibition IS
sufficiently varied But ali those castings which
have been produced by Signor del Nero himself
and they constitute the greater part OF the show
go 20 enforce one point. and that is the manipula-
zion O. a mechanical process in thoroughly arts
TIC manner.
These reproductions are not based on a hap
hazard emulation OF antique surfaces. They are,
or the contrary. buit up from within, the idea OF
tire craftsman having been 10 produce equivalents
o. the works CT old masters by developing. so Tar
g. possible equivalents Of their alloys. Thus his
patiras are never applied with the brush. after
tAe familiar modern fashion. b-t determined
e. tar outset by the constituents poured into Che
mould. and z Ire acid hath Is used, Il is only
ErtCr precisely the right foundation has been Sc
cured through the fusion OF precisely the right
81 a. II
rNe Nec-5.itan nike" -.-<arCissus" etcD. Eignc-'
del Nero has paused at the stage coming 5ust be
fore the addition OF the uatna. so &c 10 SHOW the
state or The bronze which scholarship may assume
80 have been characteristic Of She originals when
they came from the ancient uou'ds. The point
made is that II needed jUst such a surface es IS
shown ia these pieces 10 take the old patina; with
oct this foundation those superb colors Of the old
b,o,szes co-ld not have been secured. We say
s'colors" acyiscdly. From thIs exhibition the STU
cent NAV learn how wide is the range Of the
s0lirter who builds he effects M really arts
~. handling Of alloys. When the latter are used
a. PAINTER uses thc resources OF his palette. they
90. he made 70 yield almost anything that Is
wanted the riches or The most delicate greens.
the v-srtnest browns the most brilliant blacks. or
tie fer5e-est rods and blues. The reproduction cf
-hs Ile head is peculiarly eloquent n this n3at-
5e-. IRE Figrentlre pptina positively alive,
Tor tic raodaatcus Ct form IN the Bronze are fol-
lowed with the subtlest modulstious Of color. One
would saw that this perfection ia detail could only
- eecrrra through thc brush. bat { matter q
sact these pieces show their quality IN their very
textures ne color IS literally part ana parcel o.
fhs bronze and is due 70 the that the mixture
q allows has been nicely calculated 20 make the
so~eq o. the sculpture receptive 20 the action OF the
hath along lines planned In advance. Many Off
1e-e-t uatuas are Illustrated here, many 20 he
Individually Described But ;his is indeed unneces
sary j. is sufficient 70 state ;hat slgnor del NerOs
hrorz>s are Of rare merit. because they show IN !
-her grain as Il were. the influence OF principles
scientifically established and given artistic vitality
b. artistic feeling