New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-02-19
MRS. H. P. WHITNEY
SHOWS OWN WORK
Exhibits Twenty-Odd Pieces, In
Guiding Titanic Memorial,
at Studio.
BY ROYAL CORTISSOZ.

Mrs. II. p. Whitney's studio, which
has been the scene of so many public
exhibitions that it seems gallery
rather than a private workshop, is now
for the first time given up to a display
Of her own work. II conveys an inter-
esting impression OF the ideas and apti-
tudes which she has developed as
sculptor, and in one heroic statue,
which dominates the collection of some
twenty-odd pieces, she makes an appeal
that ia doubly reinforced by the poign-
ant nature of the subject. Reference
Is here made 20 the figure for the Ii
tanic Memorial which is to be erected
in Washington.
Three versions Of this statue are
shown, the first and second sketches
and the design finally adopted. The
central idea has suffered no change In
these progressive stages, the idea OF an
erect figure, whose stralghtly out
stretched arms raise diverse suggestive
reflections. The movement with which
man breasts the sea, the large gesture
BETTING an allegory OF death, are Dotn
TO be felt in this image of kind OF
proud resignation. But as she has
studied her theme Mrs. whitney mas
come steadily TO closer grips with II:
The first model is histrionic. the second
partakes of the same error, but IS
little stronger The final composition
has the monumental simplicity which
belongs TO the conception. The austere
draperies hint az the shroud, yet stop
short of It's grimness. they are wen
modelled, too, in severe planes, tnougn
the futtering point that hangs below
tho right hand might judciously be
modified. The figure will be about
sfteen feet high. and is to be executed
In granite. II should prove Imposing
In an individual way, its stark Simple
ity placing it in sharp contrast to most
symbolical monuments.
That the decorative side OF plastic
art lies within Mrs. Whitneys scope Is
disclosed by two conspicuous perform
ances. the Fountain Of RI Dorado at the
San Francisco Exposition, which she
shows in a photograph, and the Aztec
Fountain, for Washington, whlch ap-
pears both in photographs and IN
bronze reduction. The latter sculpture
js. indeed. illustrative of her talent TOT
design at its best. The richly orna
mented work Is fine in ensemble ana
delightfully."- clever in detail. Nevertne-
less. il is in her treatment OF the inquire
that she most clearly reveals her traits
az a sculptor, in the full length nude
~ an athletic type. in the Arlington
Hotel Fountain, and in smaller produc-
lions like the sketch for Monument 10
We do not know under whom she has
studied. and it is to be counted to her
credit that her works offer no evidence
on that point. One group. the pa
ranism Immortel," suggests that shc
hos been attracted by Robins subtle
modelling, but if she emulated II IN
chat marble she has not persisted IN
the path then followed. 1t would have
nroved a doubtful course. The nuance
In modelling is not at present TO De
reckoned among her resources. Her
strength lies altogether in a straight
forward handling Of realistic forms;
she aims at the truth and gets it. She
Gets il. too, in certain fulness and
force. The best quality. in these
sculptures is the energy they suggest
in the sculptor. Style, beauty, the
charm OF a fresh and original talent;
have vet to appear. The promise OF
them. IL discernible anywhere, lies in
the vitality of her ideas and the nom
esty of her workmanship.