Evening star., 1938-03-06

recognition as sculptor OF animals,
but there were still worlds to conquer,
new roads to explore She was, as
Mrs. Herbert Adams has pointed out, a
striking exception to the general rule.
in that she needed no long period OF
training. Perhaps" Mrs. Adams con-
cludes. because she was born with
goodly heritage of Cambridge culture"
This does not mean, however, that,
Anna Hyatt Huntington has achieved
success without labor. and If the works
in the current exhibition seem simple
and to have been produced without
effort 1t Is due to her mastery of self
and medium. She is and has always
been a tireless worker. subjectine
herself to strict discipline and holding
fast to an ideal Of perfection.
"All Anna Hyatt Huntington's
sculpture" well-known critic has
said, lis wrought with love and with
knowledge and poetic imagination,
that priceless spirit which peers be-
yond love and beyond knowledge. Civ
ing them wings to reach regions not
dreamed
This is peculiarly true of her sculp-
ture of animals. which represents
numerically and collectively her ma
jor achievement. No one could have
modelled wild and domestic creatures
as she has done without possessing
these qualities. and in large measure. 1t
should. however, be straightway noted
that at no time has Mrs Huntington
imputed to the animals she has in
teipreted characteristics which they
do not possess. Never has she been
tempted to personify them or to ex-
aggerate their animal instincts or
cunning. Here it is that that magical
touch referred to comes in, trans
forming that which is real-but trans
itory-into that which is of all time
and of lasting significance. In her
modelling of young colts and fawns
there is a touch of tenderness for
weakness. whereas when she gives us
elephants or numbering boars. weight
and force are most strongly felt And
what variety there Is In her output!
Not only has she represented practi-
cally all the domesticated animals but
those of the jungle and vilds as well.
Her sculpture Of creatures Of the cat
tribe is particularly engaging How
we'll she has seen the muscles slipping
to and fro under the skin, how well
represented the rhythmic motion of
body and limbs! In many of her
animal groups and single figures there
Is definite action. but never with the
appearance of sudden arrest
In 1er compositions she is at times
very daring-and In this sense mod
ern'-a law unto herself. Take. for
instance, "Greyhounds Playing" or
"Fawns Playing" or Goats Fight
ing" in each of which the plastic
sense is strong but great freedom al
lowed in the matter Of composition.
In other groups there is likewise
solidity and at the same time
Many of her works are
full of action-but they are never
frozen" or 'interrupted"-such mo-
ton as is expressed is rhythmic and
therefore without termination-a part
# life. This is quite as true of her
groups As of her single figures and
therefore worthy of re-emphasis.
Sculpture is an art itself and an
art in whl.h mere imitation is Of no
A piece of sculpture may be
seen not from one point Of view but
many, from all sides--it must have
mass and relation thereto-it must be
plastic. And what is more, it must
depend for effect largely upon model
ing-light and shade. All this comes
before, but is utterly insignificant
the magical touch which sig
nif1es and forever gives inspiration-
inherent genius on the part of the
sculptor. The lighting of q piece Of
sculpture Is of utmost importance
and as the lighting changes, the work
is made new again and again. But,
alas, it may also, for the moment, be
killed. The installation of such a
collection of sculpture as this is no
easy task and the Corcoran Gallery Of
Art has in this instance achieved ex-
ceptional success.
Two innovations are to be especially
noted in this display, the first sub
jective and the second with reference
to medium. The former is the more
important. This has to do with a
group of works in bronze of wild birds
and fowls-a unique departure in the
field of sculpture-which have the
lightness of the feathered families
capable Of flight and at the same time
real Elasticity. To this group belong
Cranes Rising" "Peacocks Fighting"
"Sebasterpole Geese" Angry Crane"
etc. A unique piece is 1.-TWO Swans"
head to head, breast to breast, form
ing in pattern an engaging design.
The second innovation is the use in
some instances of aluminum-a metal
not heretofore employed as a medium
for sculpture. For the purpose Of
casting this metal is no less costly
than bronze. but when cast it Is much
lighter and more readily handled.
Obviously. it has the appearance of
silver and in pieces Of small dimen-
sions, comparatively speaking, takes
on an attractive patina and Is pleas
ingly effective. For larger pieces, how
ever, it Is not quite as adaptable, its
color and uster requiring compile
ment in setting. But such expert.
mentation is eminently worth while.
Among the larger pieces in this me.
dium are q bear group and an tmagi.