The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-11-21

find there. They appear all the more
trivial In such a noble setting. They
ought to know In Boston that the du-
rability Of sculpture. one OF it's grand
virtues when 1t Is good, becomes n
terrible calamity when 1t il ugly. and
that II requires no less than an earth
quake or a foreign invasion to destroy
or remove a statue which has been
firmly riveted on its pedesta, by a
ceremony and a few sentimental
speeches.
Mr. Commissioner I said. per-
nit me to differ with you again. The
city Of Boston removed q few years
ago, of It's own free will. a statue from
the Public Garden. The statue wa
in granite. represented a soldier and
vas ornamented with n tin sword. II
was replaced by a very fine statue in
bronze
"He recovered-and this was his
retort: "A time will come when IL will
he necessary to use that same free will
all owe the United States. In the
meanwhile he added. Struggling his
shoulders. you are all alike and you
remind me Of that old trouble he
tWttn ttIOIIle anu b'SfuTU-N III
the celebrated, the respected. the clas-
sic professor at the Ecole DIES Beaux
Arts: Besnard, the brilliant. the err
ratio. the aesthetic genius of the day.
"'Besnard had recently returned from
Rome and was much talked of III art
circles. At that time an art critic
called on Gerome to talk over the flu
ture Of French art. The name VI Bes-
nard was mentioned.
"'Oh. yes said Grrome. 'B-suard.
Poor Besnard. he does It even know
how to draw!
The interview was published and
the next morning the critic promptly
called on Besnard,
"'"Oh. YES" said Besnard, you
came about Gcrome. Pool Gerome. ne
Toes not even know what drawing
means"
land there YOU are the commis-
s.oner cried. You do rot know what
sculpture means. and much less how
to use 1t. And besides. he concluded
aggressively. Won have another
mania
Il was beginning by this time to feel
quite angry. and I thought t. my self.
Y really cant stand this much longer
But I had to he polite. So / hiandly
said
81 am no, surprised You have found
somethius else
lyon must rot he surprised he
repeated. "A detailed report H. oN-
pected from me by my Government.
! have investigated these matters nor
thoroughly than q nay think. and 7
have noticed that the persistent effor.
IN America 70 marry art and business
'is taking the form 81 a maTia. \.
mania which to me is not devoid OF
"unc pointe de ~ia,ou-.e' toward the
artist
II made a movement.
| "'Yes.' he said. i understand. bat
, with US 1t Is different. W. have art
in our business and appreciate the
asset. But Americans insist ON busi-
ness in their art. There IS y "nuance"
as Verlaine would have said.
"'"He has no head for business"
is the common American complaint
against the artist. Now tell me se-
riousiy why should an artist pay any
per;icular attention to business" Is
WV ii'A'tii dAtaNbif VI Wv u4N!Sl To-
ward his work akin. in any way. 10
ordinary business Has the state Of
mind. emotional and receptive. which
Is necessary to tn, art 81. 20 feel and
interpret with n mob lily the beauty
of nature, anything to do with husi-
ness
DO the months and Years Of
patient toll which are necessary u
the sculptor in his search for the con-
crete and synthetiCal forms in which
he strives t, embody his inspirations
and ideas have anything To do with
business"
America has hundreds. nay. thou
sands. 4 business men fr one artist,
and II seems To me hat you ought tc
thank God when n real artist and
poet is born to your country. one
who is o a business man
81 was st.ll angry. but. he wa,
right. and | said. My dear sir. | fee
obliged to agree with you
HE continued: i have never hearc
this criticism formulated abroad. II
fact, with US The artist who shows to,
much facility in his affairs lose
caste, How often have | heard tn
remark, "Oh, un tel, &C nest pas III
, p~eintre-c'est un marchand"-or 81