Evening star., 1935-12-15
Bv Alice L. TiLdeSlev.

LII the excitement klnQleo Dy
n other sensational personalities
"A who have visited Hollywood
a 4 in the past is proved to have
been but small-boy bonfire compared
with the confiagration ignlted by that
American citizen and world-famous
sculptor, Boris Lovet-LorSKi.
This forest t-fire genius mas an eX-
hibition of sculpture in town-unique
black, gray, red, yellow and white
stones that are, as one critic puts 1t,
mot statues, but vibrant hymns OF
life"
Girls whose faces are known wher-
ever there is a motion picture screen
throng the galleries where the marbles
are on view, intrigue for introductions
to the young Slav, observe with envy
wnat he has done with an Italian
princess, or a Greek prince and sigh:
won't he do something for me?"
They've been painted, they've been
sketched, they've been modelled IN
clay or cast in bronze, but, as one OF
the most eager complains: THAT
sort of thing isn't alive afterward.
When YOU have a portrait on your
wall. it's you for month or so, ana
then it's just a picture. Lovet-Lorskls
things can't die
Every mail contains offers, which
sound more like pleas, for the I'M
mortalizing of this blond or that
brunette screen star in onyx or copper
or ivory Carrara marble by the sculp-
tors magic hands So far he has re-
fused them all He remains elusive,
unmeetable, to his would-be sitters.
II do not have time to concern my
self with Hollywood personalities, ne
explained in one interview. Unless
something extraordinary happens, 1
could not be persuaded to break my
rule of not working while on tour with
my exhibition. So far, see no rea-
son for changing my rule.
Il do not get inspiration from peo-
pie. I do not get inspiration from
outside at all. What I do is from re-
membered racial memory-it comes
from something deep down inside, not
from the shell of my sitter.
"ONLY very rarely can I work with
a person have just met. Once
in Italy, was taken TO the salon OF
a woman who is often called queen of
Rome because of the brilliance of her
salon and her influence in the world
of art. I felt that I Knew her on sight
and had no difficulty in working with
her when presently it was suggested
that I do her portrait in marble.
While we were thus engaged, she
said to some one: When sit for this
man I do not exist. 1t is an eXtraor-
dinary feeling, that I am nothing
but a shell"
That is very true. The artist must
devour his subject and make it his
own before he can begin to recreate it.
L tell wou this so that you will un-
derStand.
Girls on the screen cannot be
Judged by their screen selves, because
what We see up there is so seldom
the real person. There is too much
pasted on them-false eyelasheS, I'M
real hair, too much paint If I we're
to work with them would first wash
their faces and then regard them.
However, I can do this for you:
I can give you in images the per-
sonalitieS get from seeing 10 of your
glamorouS beauties on the screen.
Remember, do not know them per-
sonally-I am giving you my impress
sion in imaginative terms.
Let us take precious stones and I
will tell you how they compare to
your Hollywood stars.
Jean Harlow attracts one in much
the same way as does the diamond.
She is modern and brilliant she
has a powerful surface quality =.
TIE onlooker finds his own mood
caught and refracted back a thousand
times.
"Greta Carlo possesses the calm,
milky consistency its deliberately
changing spectrum of color and mood
its classic form. Always one
hears Garbo spoken of as mystery
what stone is more mysterious than
the opal?
Katharine Hepburn is the vivid,
unusual red of the garnet stone with
its brilliant surface and frey, chang
ing facets. She has the naive COM
placency of the garnet and its uni
versal popularity.
HEPBURN has rarely beautiful
bone structure-so has Carlo
so has Dietrich, unless I am mistaken
by lighting effects. All of them will
remain beautiful, no matter how old
they may grow, for they have the
essential quality of beauty.