Evening star., 1939-08-13

book the why and wherefore of the
work is explained, and no less
graphically; the story is now COM
plete.
Outline of Story.
OF this story it is only possible
here to give the merest outline, for
its telling and illustration occupy
over 300 pages of book measuring
approximately by II inches in
dimensions, but there are certain out
standing facts and features which
may well be brought to attention.
To begin with, Miss Putnam gives
her readers to understand that all
shapes are based on some form of
solid or plane geometry-such as
the cone, the cube. the sphere, the
cylinder, the square, the triangle,
the circle. Not only does she say
it but prove it by welding from these
forms familiar things-fruits. flow
ers and even the human figure.
Because of the basic character of
these geometrical forms, Miss Put
nam finds significance in expressions
of non-objective art of the most
extreme sort. and in the elemental
work of some of the outstanding
modern sculptors This. she takes
it, is return to original source, but
she warns sharply against using it
as cloak to cover illiteracy.
Sculpture is form, whether mod
eled or carved; therefore form must
be of chief Importance. When a
little boy asked an italian modeler
what art really was, he wet his
thumb and pressed it with a sweep
on the surface of the clay, sensi-
lively indenting and enlivening it.
But the art of sculpture is more
than this, and Miss Putnam warns
vehemently against imposing sur
face finish on work which is not
structurally strong. This she calls
Sticking and might, Though she
does not liken it to icing on an
uncooked cake. Many sculptors to-
day prefer, she reminds us, to leave
their surfaces fairly rough that the
roughness may catch the light, and
the spirit not be snuffed out. Mes
trovic is mentioned as an example
in this instance; Epstein is, however,
in the practice even more outstand-
ing. Obviously, she is right in her
contention that the sculptor should
stop when he has reached the limit
OF his power, or capacity; but GER
tainly the highest achievement is
when these hold out until a desired
end is completely assured. Texture
is of no less importance in sculpture
than in painting; that which tempts
the fingers gives added joy. In art
today the sense of touch is too little
regarded.
Important Details.
Upon the novice Miss Putnam
urges the Importance of light and
shade, for what, she exclaims. is
sculpture but this! 1t is light, with
accompanying shadow, playing on
and around form, which makes a
work in sculpture what it is. When
Daniel Chester French modelled the
figure of Lincoln for the Lincoln
Memorial in Washington he reck-
oned on the light coming from
above, but not on the reflection
which the floor would throw upward,
hence when put in place he scarcely
recognized his own work, and a
complete reorganization of the light
ing of the building had to be made.
Light which is so direct as to oblit-
crate shadow will completely nullify
the subtlety of a bas relief or of
dellcately modelled work in the
round. This helps to explain why
sculpture out-of-doors is more effec-
tive morning and afternoon than at
midday. Also, it should bring to the
realization of those who own sculp-
ture, the Importance of giving it
proper lighting as we'll as setting.
1t is natural to think of sculpture
in the round rather than in outline,
but in sculpture the silhouette is of
great Importance, and not just one
but in multiple, for sculpture in the
round is seen from more than one
side. It is in this connection that
the emphasis which Miss Putnam
places on drawing is significant.
She, like Rodin, tells all her pupils,
and others, aspiring to success in
this field, to draw and draw, and
draw, carefully as we'll as persist
emily. until they master the power
of expression in line.
Step by step Miss Putnam leads
the beginner, encouraging and coun-
selling, but always insisting upon
fundamentals and discipline. From
geometric forms and practical les
sons in observation the Student
under her tutelage advances to
copying casts-casts selected as
illustrative of certain things to be
learned. Then comes work from
life-the changing mask nodded by
the hand of God.
So much for apprenticeship. When
the student is ready to step out
for himself, the question of group
composition comes up and is de-
lightfully dealt with in a chapter
to itself. Certain outstanding ex-
amples are mentioned, such as the
group from 'The Merchant of Ven
ice," by John Gregory, on the facade