Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-03-23

III now on view interesting and I'M
I ~ usual group of sculpture by an Italian
artist, Fausta Vittoria Mengarini Of
Rome, who is at present here IN
washington
Signora Mengarini and her work were in
PRODUCED to a small group OF art lovers by
Donna Antoinette de Martina at the Royal
Italixa Embassy last week. Happily, arrange
ments have been made for a more compre-
hensive showing Of these unusual works i'm
sculpture through the courtesy of the Corcoran
Gallery of Art.
The collection as now set forth includes
three silver figures, figure in plaster modelled
for q baptismal font, two bronze medallions
variously colored and nine bronze busts-por-
traits, together with photographs of some OF
Signora Mengarini's monumental works erected
under government patronage in Italy
BY far, the busts are of most notable inter-
est being modelled with skill and assurance
truly amazing Primarily these works recall
the great works of other days. the portraits
of the Roman Emperors which have come down
to us from the time of Caesar. And yet one
does not ind in them any suggestion of imi-
tations. They are superbly strong; they are con-
vincingly accurate. They are profound works
OF art, in the rendering of which the artist
seems never to have tripped or stumbled. And
in spirit they are essentially Roman. The only
portrait busts by an American sculptor which
approach these works in realism are those by
the late Charles Crafty a number of which
cally the same places where these busts are
now to be seen. But how different is the man.
ner of handling how essentially individual Is
the expression which each sculptor fOund
Signora Mengarini's technique is broad but
exact, her modelling extremely firm and definite.
She seems to have been conscious all along
of the medium in which the work was to ind
ultimate expression, to have reckoned with its
hardness. its enduring quality, its eventual
finish.
And how wonderfully these busts have been
cast-the casting in itself triumph Of crafts
manship! Signora Mengarini superintends, her
SELF the casting puts on the finishing touches,
chiseling, hammering, smoothing away discrep=
ancies and finally applying the patina. Thus
each conveys to the observer the appearance
of a work of art fresh from the hand Of the
artist rather than one mechanically produced
from an artists model.
It has become customary In these later years
for sculptors to model their works in clay or
wax rather than carve or chisel them from
stone, 50 that the finished result in bronze
or IN stone Is it reaches the public is q trans
latiOn of the original But Signora Mengarini
seems - have worked with the thought Of her
medium always before her, to have literally
modelled in bronze The variety Of patina which
she uses also lends interest an effect Of color
which Is unique. Her treatment Of detan-hair,
a mans shaver facets interesting. And her
termination Of the busts, suited in each case
to the subject. gives decorative effect. 1t is in
this that she stylizes, to an extent, her por-
traits
Arturo Gala, an italian critic, writing on
eignora Mengarini's work. has truly said: 1.-THE
sound and intelligent eclecticiSm at the basis
Of Fausta Mengarinis artistic temperament Is
such that no special school can claim her as Its
own She belongs solely to herself She
could well say with the French poet, Mon verre
est petit, mais je bois dams mon verre'; with the