File:International studio (1897) (14782795232).jpg

Identifier: internationalstu70newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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To represent anythingso evanescent as laughter must be an exceed-ingly difficult task. To put such ephemeralideas into permanent form is one of the ques-tionable artistic undertakings. Lessing hasdiscussed this in his classic critique The Lao-coon. Lucas has accomplished this feat in the Laughing Faun. The strange little creature laughs on incessantly and when one sees the beautiful figure perched there on the rock inthe midst of the placid waters of the littlelake, with the music of the falling water as anaccompaniment, he seems to be laughing invery truth. Sambo—The negro has never been popularas a theme for the sculptors art. If represent-ed at all, he has usually been employed as amere accessory to some more dignified workof sculpture. Such is the kneeling negro whichappears in Thomas Balls four Emancipationgroups. Such are the pedestal figures on J. Q.A. Wards Beecher Monument in Brooklyn andin George E. Bissells Lincoln statue in Edin- The Sculptural Art of Albert P. Lucas
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ll.e very highest reahn of sculptural art.Albert P. Lucas has executed what is probably the very best portrait of an African hitherto produced. The surface modelling is excellent. It is a speaking likeness. This unique creation was much admired by Saint-Gaudens by whose direction it was given place at the entrance of the American section of the Exposition where it was exhibited in1900. BY ALBERT P. LUCAS borough, Scotland. Nevertheless it is signi-ficant that the black man has been depicted insome of the greatest sculptures in America,—and in a way which proves him to be not un-worthy as a theme for the sculptors chisel.Macmonnies has rendered a splendid negrofigure in one of the tremendous groups on theBrooklyn Memorial Arch. Saint Gaudens inthe Shaw Memorial in Boston, a masterpiece,—perhaps his greatest masterpiece,—has paidsignal honour to the negro race. Daniel Ches-ter French has symbolized Africa at the en-trance of the New York Custom House in agroup so imposing that it i

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