Every evening, Wilmington daily commercial., 1921-10-26
ART UP-TO-DATE
by Frederic ). Haskin

represent the State. The almost IN
surmoiintabie drawback 70 Burbank
IL that he is alive. What Of itY' asks
the sculptor. "He has accomplish
"a definite things IN horiicuiture.
Years from now, fruits and flowers
win stiIi be associated with the name
and work Of Luther burbank. Why
should we wait FOR dedth before con-
ferring an honor on such u man.
The Burbank statue now stands IN
Gertrude BoyIe's New York studio.
She tells how he gave her the choice
Of studying him IN the house or out
of doors She chose % watch him in
his garden where he sorted seeds and
worked with his flowers.
lie would fiutter around the beds.
she says, and suddenly swoop down 70
pick up something. then or 70 another
bed and swoop again. IL came 70 her.
watching him, that he was like an
eagle. His hands curved 70 pick up
seeds. and his face, with its keen gray
eyes and strong nose, bore out the re-
sembIance.
Burbank was not satisfied AZ FIRST
with this conception Of him. lie did
not see the resemblance. and rather
objected 70 the idea n representing
what ne termed bird of prey Later
however, Miss Boyle heard of his
taking a strong liking to another per
son. He explained Il BY saying, We
are congenlal because we are both
eagles"
There is much talk about the trend
Of art, and II there is less ado about
the trend Of sculpture Il exists. none
lfhe less. Gertrude Boyle explains that
sculpture is leaving the classical
standards of close imitation ~
model and elaborate technique. and is
advancing along simpler lines.
Emotion Expressed in Pose.
Her studio. on the edge of Green
wich Village. is filed with examples
Of the modern, though not futuristic,
art. Little sketches Of only Few
skilfuI lines are tackled on the walls
figures dancing, leaping. bending back
e lin despair, or bowed in fear. Exag-
{ geration you think at first, on viewing
: the human figure depicted in every
Y possible and what look ike a few im-
Y possible attitudes about the studio.
: Then you begin TO use your magma
e ton, as advised by all modern ar
: fists, and the figures become more IN
telligible.
AS In acting, you see that IN order
to tell the truth, the creator has had
n to exaggerate.
" Tiny statues in bronze and clay ars
) on the tables and shelves 0f Miss
~ Boyle's studio. Some Of these are onl5
i half brought out Of the clay. ius
- enough TO make vivid the attitude o
=, love, hate, or defiance. There ar'
n paintings, too, done in dark mass e.
- fects, showing figures strainins
against forces OF nature OF caugh
Ipoweriess in the grip Of some trouble
lo Miss Boyle finds it most desirsbL
u not to name her statues. Here agaii
'e you get a phase OF the modern trend
~ Whistler was regarded as radica
NJ when he called his paintings Noe
a. turnes." preferring not to hamper IN
ck Imagination OF spectators by descrip
st tive titles. So, today, the artist says
IN See what you can in my work.
nd you don't see the same thing that
ia did, IL doesn't very much matter
r But by all means use your own innazi
nt nation" This forces the inspector q
pictures and statues to think and [
81 use his eyes il he is 10 see the wor
nix at all.