Se ARCHITECTURE The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN UN 9 1976 er WX AUG 5 19/6 L161— O0-1096 PAUL MANSHIP A CRITICAL ESSAY ON HIS SCULPTURE AND AN ICONOGRAPHY ae a ne) : ue »s ) PAUL MANSHIP A CRITICAL ESSAY ON HIS SCULPTURE AND AN ICONOGRAPHY BY A. E. GALLATIN WITH EIGHT ILLUSTRATIONS ¢ NEW YORK JOHN LANE COMPANY MDCCCCXVII COPYRIGHT, 1917, BY A. E.GALLATIN PLATES [ GROUPED AT THE END ] DUCK GIRL LITTLE BROTHER PAULINE GROUP OF epirs DANCER AND GAZELLES THE FLIGHT OF NIGHT MANSHIP EXHIBITION Bar Harbour, Maine, 1916 MANSHIP EXHIBITION Bar Harbour, Maine, 1916 THE COPYRIGHT IN THESE PHOTOGRAPHS IS RESERVED BY MR. MANSHIP H iy yt eae Hs, Beitr ‘ Ss | rit been Rie te * s * 2 #F 4 er oe dope 3 + Ket wey _ sr z 7 a Py a a T | e a he 2 } so ‘ suoLy i ' Ape PIA fe alge ‘Aa ee hat Ny i yAiee tes Soe anita i > ah i inet Lae f ale en H ¢ bay ahi ns a is nse: > i oth ad jhe P c iy Soa él oie i a | oh ee . au “3 “ian iy aise? z * 7 ms >? Fey Ma: i acts ae ; ad Sa ut tk ae biped D aed: -_ 7 ie ° Ae, ‘ es a Cia ve Pi -. PAUL MANSHIP HE discerning frequenter of exhibitions of modern sculpture, especially in New York, for the past few years has noted and admired the occasional contributions of Paul Manship. Too often in these exhibitions the trained eye saw for the most part only varying degrees of academic perfection and resulting lifelessness, lack of creative power, of originality, or of style. Occasionally promise of future achievement was indicated in some bronze or marble, but with very few exceptions this was all. In Mr. Man- ship’s work, however, one was always face to face with actual accomplishment. The first ‘one man” exhibition of Mr. Man- ship’s sculpture, which was held in New York late in the winter of 1916, created a veritable sensation among the larger public interested in artistic achievement. The extreme modernists and the academicians united in paying a tribute to his genius: his success was complete. f2] ‘This success was repeated the following sum- mer at Bar Harbour, Maine, where a represen- tative group of twenty-six bronzes by this gifted artist was shown. The exhibition was held in the Print Room of the Jesup Memorial Library from August 14 to September 2, and was visited by 2860 people, which is believed to be a record at- tendance for a town of this size. It was installed by Mr. Edward Robinson, Director of the Met- ropolitan Museum of Art. Particularly effective was the placing of the Sundial— Time and Hours, the larger Briseis, and the Dancer and Gazelles: these were put on gray stands before a back- ground of small pine trees. Mr. Manship is an American. He was born in St. Paul, Minnesota, in 1886, and here it was that he began his studies, afterward pursuing them in New York and Philadelphia. In 1909 he won the scholarship offered by the American Acad- emy at Rome, and went to Europe, where he remained three years. Since then he has made [3 J New York his home; his studio at present is located in the recently artistically transformed Washington Mews, situated just north of Wash- ington Square. Arrived in Italy, Mr. Manship at first studied the work of Michelangelo and Donatello; inspi- ration he also found in Hellenic art—the purest of all fountain heads. The art of India, but not its grotesque or fantastic side, later on also pro- foundly influenced him.» Mr. Manship is a striking example of Sir Joshua Reynolds’s assertion, contained in one of his Discourses, that ‘‘the more extensive your ac- quaintance is with the works of those who have excelled, the more extensive will be your power of invention.’\ His mind has acted as a crucible, into which various influences have been poured. Mr. Manship has found his inspiration now in the works of the great Greek sculptors, now in _the creative period of Indian art, now in the ra- diant and glorious art of the Italian Renaissance ; but always these arts have inspired him to cre- ba ae ate, not to produce lifeless and icy interpreta- tions) as was the case with such artists as Canova, Thorvaldsen, and Flaxman| rhe pseudo-classi- cism and borrowed Hellenism—mere echoes— possess nothing of the fire and vigour one always finds in a work by Manship} The artist’s portrait bust of his baby daugh- ter, Pauline,—she is seen set in a niche, in a coloured architectural framework ,—reflects his enthusiasm for the art of the Italian Renaissance. The infant is as closely studied, as masterfully modeled, and as full of life as those of Dona- tello, of Rossellino, and of Andrea Della Robbia, although of course not possessing, owing to its extreme youth (she was only three weeks old), their cherubic beauty. Mrs. Schuyler Van Rens- selaer, it may be noted, has written a charming essay on this little masterpiece; she is right in terming it a vital work of art (vide Scribner’s Magazine, December, 1916). The influence of this period is also seen in Manship’s medals— eee a branch of art in which he excels, His superbly designed medals entitled Jeanne d’Arc, St. Paul Institute, The Civic Forum, and Amoris Trium- phus rank with the most notable achievements of modern times in this direction. They serve . well to illustrate the artist’s great sense of deco- ration, his style, his taste.’ Mr. Manship’s debt to Greece may be traced in such pieces as the Centaur and Dryad, the Bri- seis, the Infant Hercules fountain, made for the courtyard of the American Academy at Rome, the Lyric Muse, and the Little Brother. One should note the beautiful patina on these works, a quality common, indeed, to them all. The lessons the artist has learned from In- dian art, particularly from Hindu and Buddhist sculpture, one perceives in such examples as the very graceful Dancer and Gazelles, Sundial— Time and Hours, and The Flight of Night.\In (these one sees the significance that the Indian artist attaches to gesture, as well as the symbol- i ism of hands. His gazelles and his antelopes pos- sess a smoothness and vitality one very rarely finds outside of Indian art.) Even a casual examination of Mr. Manship’s bronzes will suffice to disclose his great rever- ence for the classical traditions and his love of the antique It was largely this regard for tradi- tion, coupled with a modern outlook, that pro- duced the art of the Italian Renaissance. Too much stress is to-day put upon the virtue of mere originality ; generally speaking, every great ar- tist has based his art, and every great period of art has been based, upon what has gone before. When artists break away from, and entirely ignore, every tradition, or go back to the art of the savage, as a rule they produce only such strange objects as have lately been paraded be- fore us in the guise of painting and sculpture. That Mr. Manship, however, has occasionally struck a purely modern note is proved by such examples of his work as the Portrait Statuette (of a young woman), and the Yawning. The pe 7 latter, which shows a girl seen in the nude, at full length, stretching herself and yawning, is as modern in feeling and technique as if made by Rodin or Paul Troubetzkoy. This statuette, it is interesting to note, was made in Rome in 1912, from the same model as that used for the artist’s Lyric Muse. One cannot but wish that Mr. Manship, hay- ing perfected himself in the technique of his art, and learned its traditions, would now strive to produce works even more creative and original and rather more modern in feeling — works con- ceived more in the spirit that prompted the little marble bust of his baby daughter and the bril- liant sketch entitled Yawning, in both of which creations the flesh fairly vibrates! It has been truly said that inspired modernity and sympathy with the present are really vital to genuine emo- tional art. Art must never be a “‘left-over man- 5] nerism of another age;”’ on the contrary, it shall be a ‘fsincere expression of the thought and aspirations of that period.’’ The truth of this is Been apparent when we consider the works of any sculptor whose work is considered great. How particularly true it is of Houdon! Early in his career Manship was attracted by Rodin, but this influence fortunately was of short duration. Rodin is a rock that has shipwrecked many young sculptors. He stands with Whistler as one of the greatest geniuses of the present epoch, but like Whistler he is too individualistic to be successfully emulated. Their followers have produced but tedious and uninspired work. Ro- din’s custom of often leaving a large part of his marble in its natural state has done much to as- sist in the growth of the present day cult, which delights in passing off the mere study or sketch, and the unfinished, as a complete work of art, as it does also in the short cut. | Mr. Manship’s work is characterized by a perfection of craftsmanship. He lingers over his work with a loving hand, as did the designers of the coinage of ancient Greece, the makers of Limoges enamel and engraved crystal, as did eas. Cellini when working with gold and enamel, as did the medalists of the Italian Renaissance. With a wealth of detail and a finish as exquisite as attained by the French eighteenth-century maker of snuff-boxes} Mr. Manship’s creations at the same time possess great simplicity and a perfect ensemble. | 2 veya ioe phib WELTaty ire Bi TD SEAS at cman ah Ui ‘ rea 4 “4 sd ry e er > -) ahs ; 4: ie ‘ ne sre ee San ee AY) . Dts toe: re , to" ry we ' 7 —s lant cin ety > ~ > i" ’ | ' ip - ; - nba ~ : . i ‘ 4 ;. i a } 4 ti oe , Poy : . 4 ’ ea ‘a, ee sae _ Hct bocca tt het lit ast i ote ‘ WP ete AB oa) a Naa) , fens miat § fis ko i f , Avs, *F ss \ hh i : rs > 4 Ae Fie Th HON EP 45 eth, sbi ' j cs : Bea 6 m sah : ee ae Pica ae ates x ett Litho a oS aac ati aes P fe aa f oi} Biokanet eonle te wet tes. ; j waa i ADam f pian f RN ieegh. 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Ay . it ae in iN a Re eee bd s i 4 } ; ; a east 2 q wets a ae PASTA TE pane PN Share acer ae RE Ae ie uae Hh 9 f } arog he sy “a6 i +f et dey) one ) 6 Ba op | ; ‘ cv! Wee ae ; bal “ oe ed Stes ; r i \ ar a : ot je ean P J i t Ay ' ‘ Veen ; the : it ee = * ie nie J eK cs Rae ns of ghee « “deh Ge) with i ite Wane et ns Ps WETTER WBMP AT ne (REE Ltt spe de Ay ae ot Ais ) PN tok yrd ie lke ean Hine of Se: ep : / Wet (ates ei) eet et i) a ek z : é ; le mite Rh Roll wea. ih eG F Rip r 4 PAA re Be ny WO i . ‘ : 7 A” Shey Peas WORKS 1909 END OF THE DAY: Bronze (statuette), 1 copy. 1911 DUCK GIRL: Bronze (life size), 2 copies. Fairmount Park, Philadelphia. Garden of Herbert Pratt, Glen Cove, New York. MARIETTA: Bronze (statuette), 6 copies. 1912 SATYR AND SLEEPING NYMPH: Bronze (statuette). 4 copies. LITTLE BROTHER: Bronze (statuette), 15 copies. Museum of Art, Detroit. LYRIC MUSE: Bronze (statuette), 15 copies. Museum of Art, Detroit. PLAYFULNESS: Bronze (statuette), 15 copies. Museum of Art, Detroit. Institute of Aris, Minneapolis. YAWNING: Bronze (statuette), 10 copies. St. Paul Institute. eke 1913 PORTRAIT STATUETTE: Bronze, 2 copies. COMMEMORATIVE MEDAL: Bronze. PEDIMENT GROUP (sketch): Plaster. 1913-1914 CENTAUR AND DRYAD: Bronze (statuette), 5 copies. Metropolitan Museum of Art, New York. Fogg Art Museum, Cambridge. Museum of Art, Detroit. Smith College Galleries, Northampton, Mass. City Art Museum, St. Louis. 1OU4 PAULINE: The baby is in marble, the rest of the composition is in bronze, coloured, | copy. Metropolitan Museum of Art, New York. A copy in coloured pilaster was made for the artist. SILENUS. THESEUS. ODYSSEUS. CALYPSO. HERA- KLES (terminal figures): Plaster models to be carved in marble. Harold McCormick, Chicago. i CHILDREN WITH GARLANDS: Marble. Made for Western Union Building, New York._ DRINKING WATER FOUNTAIN: Bronze. _ Made for Western Union Building, New York. Pos FLOOR PLAQUE: Bronze. Made for Western Union Building, New York. THE ELEMENTS. FOUR PANELS: EARTH, WATER, FIRE AND AIR: Bronze. Made for Western Union Building, New York. MEDAL FOR THE CIVIC FORUM: Gold. MEDAL FOR NEW YORK TERCENTENARY CELEBRA- TION: Bronze. DAVID: Bronze, 3 copies. BOY HUNTER (three sketches): Bronze (statuette), 1 copy of each. MOTHER AND CHILD (sketch): Bronze (statuette), 1 copy. MADONNA (sketch): Bronze (statuette), 1 copy. MUSIC (sketch): Bronze (statuette), 1 copy. VASE (WITH ORIENTAL DANCING FIGURE): Bronze (statuette), 8 copies. Smith College Galleries, Northampton, Mass. INDIAN AND PRONGHORN ANTELOPE (two separate fig- ures): Bronze (statuette), 15 copies. One set was made in heroic size for. the gardens of Herbert Pratt, Glen Cove, New York. Pratt Institute, Brooklyn. City Art Museum, St. Louis. Art Institute, Chicago. Smith College Galleries, Northampion, Mass. [14 ] INFANT HERCULES FOUNTAIN: Bronze (heroic), 2 copies. One copy, for which an elaborate granite bowl and pedestal was de- signed, is to be placed in the courtyard of the American Academy at Rome. The other is owned by the Hon. Alfred and Mrs. Anson. TOLD SPIRIT OF THE CHASE: Bronze (life size), 1 copy. Herbert Pratt, Glen Cove, New York. SALOME: Bronze (statuette), 6 copies. WRESTLERS (sketch): Bronze (statuette), 6 copies. VASE: Bronze, 1 copy. CHRIST CRUCIFIED: Gilded bronze (small), 1 copy. ANDROMEDA AND THE DRAGON: Bronze (statuette), 2 copies. PORTRAIT MEDAL (BARRY FAULKNER): Bronze, 2 copies. PORTRAIT MEDAL (MAXFIELD PARRISH): Bronze, 2 coptes. PORTRAIT MEDAL (ISIDORE KONTI): Bronze, 2 copies. CIVIC SEAL, CITY OF NEW YORK: Bronze. Baa ad 1916 BRISEIS: Bronze, made in two sizes: 22 inches and 46 inches in height; 6 of the former have been cast and 3 of the latter. HEAD, FEMALE: Bronze (life size), 1 copy. Study for Dancer and Gazelles. DANCER AND GAZELLES: Bronze, | copy life size, 12 copies 34 inches high. Art Institute, Chicago. Museum of Art, Detroit. Fogg Art Museum, Cambridge. Museum of Art, Cleveland, Ohio. THE FLIGHT OF NIGHT: Bronze (statuette), 20 copies. Metropolitan Museum of Art, New York, a loan from A. E. Gallatin. SUNDIAL—TIME AND HOURS: Gilded bronze, 10 copies. JEANNE D’ARC MEDAL: Bronze. ST. PAUL INSTITUTE MEDAL: Bronze. INDIAN VASE: Marble (large). William Mather, Cleveland, Ohio. 1915-1918 J. P. MORGAN MEMORIAL: Tablet in gray stone, aboud 12 feet high by 5% feet wide. Designed for the Metropolitan Museum of Art, New York. f is", & aN Saye he init asd x Siapccr canna "ib vine Sayer aR sri? | ve aS eer cM yy ie i, cn wee ; | Are dues eat Aer rasta an Bag r pinnae nny eo a Ss a TAS ARG oy ter, aye ‘de de i eaN me eA iy 24 a ee7? f, See) a SOAR OA RR ac) Ae fy Se ‘ cee . ; is & tae) dé To; * ass . 2)" 7 aes A Mi iiinny Uy, ae 2. aesE me fic shane, sis pi iin 7 A Aw, >) ; ot As ot iw Ap “y — Apes ? e 7 ad Hae PAG PHN eninge Beta? Te cies eA. antici ie ine 3 : ARH dre aay. 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