New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-07-13
PUZZLES IN SCULPTURE
Paris Amazed at the Work OF
FuturiStS in Plaster.
EXPLAINED BY THE MASTER
Signor Boccioni Tells of Unit
ing Atmospheric Blocks with
Concrete Reality"

rom NN AtNNANf 20 IIfNI'NIlAFlANr
Paris, July 4-The exhibition Of "fu-
turlst sculpture" IN La Boete Gallery IL
IN lts way quite as astounding as that Of
the 'futurist painters" last year. The
protaronist Of this new art development
IS Signor Umbcrto Boccloni, Of Milan.
Sirnor Umbcrto BoccIoni is neither "cu-
blst" nor "orphe'st." although hc borrows
from both schools IN working out his
futurist conceptions
This ~ the idea" as explained by the
master. Sculpture, as represented IN the
museums OF Europe and America, offers 20
the utu-ist eve Of Signor Bocci0ni a spec
tacle so harbaric and idiotic that he turns
away from II with horror and disgust
Sculpture IS In its death agony under the
ignominious yoke Of Greece aud Michel
angelo" The aim sought for by the fu-
tur!st school Is the "synthesis Of human
dynamism." This is supplied by muscles
at fJll speed" and by spiral expansions
NJ muscles I'm movement which arc dealt
with from an architectural standpoint
The ideal IS not 'pyram.dal architecture
Estate condition.. but spiral architect
urc" (dynamism).
Architecture is thus FOR sculpture what
composition Is for painting Traditional
s.ulptors require the statue 70 be turned
before the spectator. or else the spectator
must turn about tho statue. signor Roc
cioni renders this useless By his construc-
ton Of architectural spirals' that create
before the spectators eyes n continuity
Of forms in motion. Each profile carries
within Itself Indications Of other prohles
that prcccdc and follow H.
Every intelligent person" Signor Roc
cioni explains will readily understand
that this spiral architectural construction
gives birth 90 scy!ptural instantancity,'
and with n gesture Of conviction Sicror
Boccionl declares. 81 reached nay goal
simply by uniting atmospheric blocks
with elements Of concrete reality"
Such IS the theory. Now lct me describe
practical results as seen by tho average
layman or man IN the street" Look ~
Maturity" the most prominent work 900
the exhibition. 4 plaster figure 81 pale
bilious green. = couple ~ yards high.
vaguely represents woman. Her head
IS crowned with what seems 70 hc Foa-
side cottage with windows and vcrauda.
railroad cucrgcs from her side. and on
her right shoulder is q miniature golf
links. with here and there tiny human
figure IN red At the right elbow pro-
3ccts large medieval iron halustradc
The knees emerge with % severe afr ~
mystery suggestive OF e. pair ~ Egyp-
tian sphiuxcs. Upon them rest two 81
gantic thumbs pressed together 30 Mi
caWbcrIikc attitude Of expectation.
Another important work boz white plas-
ter. with tall acute angles projecting IN
every direction. represents The Syn
thesis ~ Dynamism. but this might be-
mistaken for a distant view 81 the Rocky
Mountains 90 winter
An imposing euigma'ic puzzle group 81
white plaster Is the aaotho5s.s ~ spirit
Architecture A ngurc that might have
been selected from the Revelations a. 90"
Apocalypse Is fuTm0uutcd by q broken
window sash. with fragments q glass. In
one orbit is q glass fac-simile NJ the ferp-
cious P,lttcring cye az a tiger. such 90
might be- used by a taXdermlst on each
side Of the head are pads ~ human hair
knotted and twisted ln the shape 81 life
boat Tenders. From somewhere near tho
abdomsn cmorges sort % calls head
Viewed 40 distance ~ ten yards The
group conveys the idea ~ n wrecked aero
plane This highly original manifestation
Of the art Of futurist sculpture has OBJ
tanned a "sgocts dc curiositt,' for every
one enters the show Tor a hasty visit 10
gather subjects Of conversation for o
O'Clock teas.