Evening star., 1943-08-15
Notes
Sculpture on View
In the National
Gallery of Art
BY Leila MechIin.


cause of its purely decorative qaulity
To large extent this is true at pres.
ent of that shown in the Nationa,
Gallery of Art, where. with the
exception of couple of small rooms
in the section devoted to italian
art of the Renaissance, the ma
jority of the works In sculpture
shown are in the picture galleries
The arrangement to be sure is eX-
cellent-works of the same era in
both media being put together
but to find them, and really make
their acquaintance, requires guid-
ance often or genuine pursuit.
Such, however, is indeed a reward
Ing quest.
AS a matter of fact the National
Gallery Of Art has been exception
ally fortunate in the acquisition of
works in sculpture of Superlative
quality. First came those in the
Mellon gift-collection, then those
assembled and likewise most gen.
erouSly given by Mr.. KreSS. These
were all on view at the Gallery S
opening but have, with but a few
exceptions, been removed since to
place Of greater wartime safety.
Despite the hazards of war the
Widener collection followed the
Mellon and Kress gifts to the Ma
tional Gallery and with it are
comprised sculpture of exceptional
Importance as we'll as masterpieces
of painting. There have been
other gifts and loans from other
liberal art lovers which have ar
rived unherald but make. to the
whole, valuable contribution.
Notable Forks.
: Perhaps the most notable work
in sculpture in the Widener COL
lection is the David by Donatella
t1366-1466), from the Casa Martel-
il, considered, it is said, to be one
of the most important examples of
Renaissance sculpture in America.
In order TO induce the Italian gov.
ernmentS consent to its eXporta-
ton, Mr.. Widener acquired for the
Itallon National Galley-the Bar
CELLO in Florence-another work by
the same sculptor-a Saint John
the Baptist-Which had been until
then IN private ownership.
The David, now in our National
Gallery, is IN pinkish colored mar
bic and undoubtedly preceded in
time the execution of the world IA
NOUS David, in bronze, which is in
Florence. In this the figure is
clothed-though scantily-but in the
Bargello version it is nude, which
would perhaps indicate the period
when Donatello was throwing off
the classical influence, under which
artistically he had been reared and
was. by guidance of his own in
stinct, finding naturallstic express
sion. 1t is an unfinished work, but
Tor this reason the more interest
ing to students, giving clew to his
manner of handling.
This statue has been given place
by itself in one of the great halls-a
distinction which it obviously merits.
1t must be studied to be fully ,ap-
preciated, and in connection with
the life and time Of the sculptor.
1t is interesting to know that a
sketch Of this "Widener David" is
owned by the Berlin Museum. and
that the statue appears in the back
ground of portrait of Ugolino Mar
tell by Bronzino, painted about
1885.
The Widener National Gallery
collection also includes a small
bronze cupid by Donatello which has
much naive charm. 1t is hard to
fully realize the greatness of this
master artist, who could give him.
self to the creation of SO magnifi-
cent and imposing a work as the
equestrian statue of Gattamelata at
Padua. the solemn David, and the
gay little cupid-but this is genius.
Italian Renaissance.
In one of the rooms given up to
sculpture Of the Italian Renaissance
are some outstanding works such as
the portrait of Pietro Talani by
Maiano and that of Marietta Strozzi
by Deslderio da Settignano. both
very sensltively and knowingly mod
eied. The sculptural portraiture of
this period in Italy was exceptionally
flne, interpreting character as well
as likeness. and with a reticence
rarely matched. Before it one
stands in amazement and deepest
admiration; through it we know. as
In no other way, the spirit of the
age. These are works to be lived
with. rendered without self-con-
sciouSneSs on the part Of the sculp-
tor, very dignified and yet subtlely
vital
The Widener collection also con-
tributes some very interesting small
bronzes of which space limitations
prevent even mention-~the major
lty OF which are to be found on the
tlrSt floor with the objects of art
furniture, tapestries, etc. belong to
approximately the same period
Mention may, however. be made OF
portrait in bronze by Sansovino
tFlorentlne-Venetian SCHOOL, OF
Pletro ArentlnO, man of bold Vis-
age with long. curly beard. who
we are told, attained to distinction
as poet, art critic alas-black-
mailer. 1t is a strong work and
suggests a viewpoint and new road
which NAV have led to fuller ex-
preston two or three centuries later
In France. Who knows?
The Houdon Basis.
Speaking of France, there ar,
three superlatively fine portrai
busts by Jean Antoine Houdor
(whose dates were 174l-l828) in tn,
Widener collection which the visito
should not fail to see. These are il
room in the southeast corner O
the gallery specially designed TO
the display of sculpture. near wher,
at the present time French painting
lent by the French Government ant
individuals are on view. Two O
these are of children-Alexandr
Brongnairt and his little sLtel
Louise tchildren Of the eminen
Brongnairt). Both are in marbl
and were executed in 1777 who,