File:Appreciation of sculpture; a handbook by Russell Sturgis (1904) (14781738245).jpg

Identifier: appreciationofsc00stur (find matches)
Title: Appreciation of sculpture; a handbook by Russell Sturgis ...
Year: 1904 (1900s)
Authors: Sturgis, Russell
Subjects: Sculpture
Publisher: The Baker
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council - METRO

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
rful manuses his power, the visible results of a greatand long-continued strain being shown inthe whole body and all the limbs; for thatis precisely the end proposed—that the ac-tion of all the important muscles together isnecessary for such an effort. The studentwill then consider whether these manifesta-tions are truthful in a high sense as express-ing forcibly the way in which the limbs andthe trunk portray the effort which they arecalled upon to make ; and also whether suchconventions as are used, are used to the bestadvantage; and again whether it has beenconventionalized enough. Is there or isthere not an undue insistence upon the hol-lowing of the soft part behind the collar-bone, and the pulling of the muscles attheir points of adhesion to the breast-bone ?Would it or would it not be better to retainsome of that Greek reserve which neverallowed the over-complete expression ofviolent exertion, which expression mayeasily be ugly? It may be well to compare with this an im-(140)
Text Appearing After Image:
Plate XXXIV.—statue hy chas. h. DRAKE MONUMENT AT TITUSVILLE, NIEHAUS (B. 1855),PENNA. DECORATIN(i THE Recent Art, Part I, Form portant American conception, The Driller,by Charles Niehaus (see Plate XXXIV), astatue intended to adorn a tomb, and sug-gestive of that well-sinking for mineral oilof which we think so much. The work-man is, except in his nudity, the workmanof every day, intensely occupied with whatis, after all, an every-day piece of work.This is indeed a frank attempt to study thepure art of the figure under the conditionsof contemporary life. The modern manstudied without drapery, is not a SpearBearer (Doryphoros), nor an idealized por-trait to be set upon a tomb, nor yet is hedeified. The question comes up at oncewhether it is profitable to produce a pa-tiently wrought study from life of the nudefigure engaged in any conceivable occu-pation of our own time. In The Hewerby Mr. George Gray Barnard the samethought is expressed, the same effort hasbeen made ; and these two

Note About Images