Evening star., 1925-01-01
The North Window
BY LEILA MECHLIN.

ters of Men That They Were Fair"
in the Corcoran Gallery of Art this
week was an event of uncommon
note. 1t is not an exaggeration to
say that this Is one of the finest
works yet produced by an American
sculptor; indeed, one might safely go
further and say by any sculptor of
modern times.
The majority of works in sculp-
ture are commissioned. This was
done for the sheer love of the doing,
with no other object than to give
beautiful expression to chance
vision. The composition was inspired
by the billowy monumental form of
the "Old Faithful geyser in erup-
ton. This fired the sculptors imag-
ination, and through his genius the
indefinite shape took on definite form
and meaning. Here is the story, ac-
cording to Genesis, ofsthe recreation
after the food: of the mating of the
sons of God with the daughters of
man, and told SO exquisitely that the
curse is forgotten. Primarily, this
group is a plastic conception. 1t
builds up from and retains the char
acter of the mass. The figures, though
complete, have been cut from one
The group as a whole has complete
unity of expression.
X x X
There is a certain similarity be-
tween this group and Watts famous
painting Love and Life" In both
the man, one step ahead, is leading,
or lifting the woman upward. In
both instances the man is the pro-
tector and is imbued with gentleness
as well as strength. There Is ten
derness, reverence in his touch, as
well as passion. There is something
unreal and almost pathetic in Watts
allegorical work. but in Mr.. French's
sculpture the spiritual quality finds
dominance through sheer beauty. The
nude figures are as chaste as were
the works of the great sculptors OF
the Golden Age in Greece, who gave
themselves the task of presenting the
perfection of physical form-man in
his bodily perfection.
Arts tically the beauty of this group
lies largely in the relation of lines,
the harmony and rhythm of com
position. From every side II COM
poses well-more than well-beauti-
fully. There is no confusion, no one
line which breaks another. 1t is like
an exquisite theme in music, COM
pletely rhythmical poem. And yet
primarily this is an intellectual
achievement, the product of a scholar
ly, trained mind, as well as sKffiful,
sensitive fingers; the product of per-
fectly balanced genius, of genius held
in check by intellect, the kind of
work which stands for advanced civ
ilization and against which the current
of modernism is strongly directed. 1t
is an allegory of man in his relation
to woman, translated in plastic form
in terms Of the spirit. No primitive
race could have brought it forth. It
is the product not of one, but of
many generations-a priceless work.
X
Daniel Chester French has TO his
credit a remarkable record of sue
cessful achievement, beginning with
his Minute Man" at Concord, pro-
duced in 1875, and including his ia
nous relief Death and the Young
Sculptor" the equestrian Washington
in Paris. the Hooker in Boston, the
Alma Mater" at Columbia Univer-
sfty, and the Gallaudet Memorial, the
Lincoln statue and the Dupont foun-
tain in this city to name but a few.
dorado Taft, his colleague, tells in
terestingly in his History of Amer
lean Sculpture" of the beginnings of
Mr.. French's adventures as a scuIp-
tor. Born in Exeter, New Hampshire,
in 1850 he came of old New England
stock and can claim among his con-
nections Daniel Webster and John G.
Whittier. 1t is significant that It was
said by one of his immediate forbears,
chief justice of New Hampshire,
that he beautifed every place in
which he lived. The works of Daniel
Chester French have beautified cities
throughout our United States. AS a
boy Mr.. French showed no special
aptitude for art, and his first evidence
OF interest in sculpture was. amusing
ly enough, a grotesque figure of a
frog In clothes carved from a turnip.
The Alcotts were neighbors of the
trenches and May Alcott, the Amy
of Little Women" the artist of that
family, was interested in his career
and assisted his first efforts in model
ing When nineteen years of age he
visited relatives in Brooklyn and
gained access to the studio of J. O.
A. Ward. This, and brief instruction
from DR.. Rimmer of Boston. con-
stltuted his preparation for his first
great work, for the Minute Man" of
concord, may still be considered in
this category. Before it was unveiled
he had started for Italy. where for a
year he lived with the family of Mr.,
Preston Powers, but worked in the
studio of Thomas Ball.
x K
1t is curious thing that very oft
en- genius seems to develop suddenly
10 come forth in full flower, and tn al
the works produced in early man
mood, or womanhood for that matter
remain unsurpassed in mature years
Ihls is true of many, and not alone
IN the held of sculpture and of paint
ing, but in music and literature as
well. Fortunate is it II, as in Mr..
Frenchs instance, the work contin-
ues to gain technical refinement. at
the same time retaining the freshness
and spontaneity of youth; happy it
is when the artist never loses his
VISION, never ceases to find the keen
est enjoyment in his art.
The Gallaudet group was modelled
by Mr.. French in 1883 and is TODAY
one of the most charming memorials
in this country. His Milmore memo
rial, Death and the Young Sculp-
tor" was shown at the Columbian
exposition. surrounded" Mr.. Taft
tells us, by the "extravagances of the
Italian carvers and the clever pIas-
tic jokes of the Spanish modeIers. -
among which it rose superb, the ex-
preston of a self-respecting master
of noble art" Mr.. Taft likens the
motif of this to Watts Love and
Death" How interesting to know
that thirty years and more since he
has produced this yet more lovely
and inspiring Love and Life"
x X x X
How many artists today are afraid
of q subject. How few are willing
to risk competition between subject
and art. In this latest work Mr..
French has chosen one of the great
universal, undying themes, and has
dared to give to the world at large a
work in sculpture subjectively
thought-provoking but dominantly
artistic and haa1Itiful