Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-12-29
BY LEILA MECHLIN.

TINE Corcoran Gallery of Art has
recently placed on view in its
upper atrium a notable group
Il of portrait busts of well known
American artists by the late
Charles Crafty of Philadelphia.
Obviously these bustS have a dual
interest. subject and workmanship.
They are remarkable characterizations
They will preserve permanently the
features. aspects and expression of some
of our foremost painters, sculptorS and
illustrators. But transcending this sub
jective interest and historical value is
their merit as works of art. Not only
are these portrait bustS superbly mod
eled, but they are beautifully cast. No
greater portraits in bronze have been
produced in our day.
Meade Memorial, standing now in what
is known as the Botanic Garden,
but later to become a part Of the Capt.
tol Plaza, the terminus of the great
axis between the Lincoln Memorial and
the Capitol. Other monumental works
stand to his credit, but above and be-
yond all these in Importance are his
portraits
It is a simple matter. comparatively
speaking, to model head, placing eyes,
nose. mouth in proper relation-even to
secure what is known as a likeness
but of the many heads modelled only
q few are vital only few live. Graf1y's
always did and always will. And fur
thermore, they are complete entities,
not a head severed from body. not
mere tour de force. Every inch of the
surface shows the experienced touch of
the sculptor, born. trained. Nothing
has been taken for granted, nothing
merely indicated by chance. These
works are the result of infinite pains
taking care plus genius, and, as always,
the latter has made the former labor
Of love
Practically all of these busts now on
exhibition at the Corcoran Gallery were
in reality from first to last labors of
love. They were not orders; they were
done for the pleasure of the doing and
from admiration Of the subjects-a
magnificent tribute from artist to artist
And who are they? Duveneck. paint
-er and sculptor; Bartlett. sculptor; De
Camp. painter; Harding illustrator;
Anshutz, sculptor: Clymer, Paxton. Has
sam, Redield. Schofield, all painters.
And what an assemblage!
Duveneck has become already one of
our American old masters. His paint
ings and his etchings are in great de-
mand, hence bringing high prices.
Among his works it will be remembered,
Is the now famous "WhiStling Boy"
owned by the Cincinnati Academy,
where for many years he was chief in
Structor. But perhaps Duveneck's mas
terpiece was his single work in sculpture
the recumbent figure of his wife,
modelled and carved for placement over
: her grave in a cemetery in Florence.
This is one of the great masterpieces
not only of modern times. but of all
time, a beautiful figure from which
the spirit has fed, but eternal in its
significance. Duveneck was for many
years a dominant influence in Ameri-
can art. Mr.. Crafty represents him as
he appeared IN his late life, robust,
vigorous.
The bust Of Paul Bartlett is amaz-
tngly vital and characteristic, gay and
at the same time quizzical in expression,
the portrait Of a man In love with
beauty, but extraordinarily tempera-
mental-one who, like Mr.. Crafty, was
q great technician as well as q good
artist.
Harding, Clymer and Anshutz were
all fellow Observation-Disclosures, IL
illustrator and mural painter, one of the
younger men, still living and producing:
Clymer. painter; Anshutz, for many
years head instructor at the PennSyl-
vania Academy-each very different in
aspect and all three intensely indi-
Vidualistic.
The late John z. D. Trask, for some
years director of the Pennsylvania
Academy of the Fine Arts, used to say
that 1t was possible to tell from Grafly's
busts whether or not the subjects were
blonde or brunette. And there is I'M
doubtedly colorful suggestion in all
Of his works. His bust of Paxton, the
Boston painter, Is particularly colorful
and expressive. Furthermore, in this
instance the subject is represented as
speaking, the lips slightly parted.
The HaSsarn, Redfleld and Schofield