DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1327#0304
*s
"■ Here i, ■
AN ILLUSTRATED CYCLOPEDIA OP THE GREAT EXHU3ITIOM OF 1851.
ARTS OF DESIGN AND.". DECORATION.
ffl
scuLr
-esume our notices 'of tho
i begin with Power's Greek
■.ivd in such a prominent positioi
,,i much wild and un-
^.•nini; encomium. "Wo
^shKebohiiy.thatwe
,■0 suit- join in the admira-
':0!i bestowed upon this
Xfe.aud as.we are aware
i ;hai. in so doing wo rim
waiter to opinions of the
—jority of the critics of
;:;e ilny. we may be per-
mitted to make a few
' more observations to ex-
T-J-iin. perhaps to justify,
position. First, the
I tirTU-c is ill studied: of
Lvuise, the proportions of
beauty are, to a great ex-
teut, matter of taste
Sculpture in the Great Exhibition.
Slave (sec p. 320}, which was thrust
i, and upon which king Mob lavished
side, as a point of view, subject to many objee
the head itself, we cannot consider it by any n
certainly not pleasing: it is too square; the fi
female beauty; the eyes too much sunk for ai
shades of expression, that of softness, which is tl
(in marble) ; and f.Uc profile, as it is the lirst vii
head, is unfortunately sis h\tsl agreeable aspect:
..'hir.len ;
but without
hying claim to infallibi-
lity in these matters, wo
aW that the figure of
[he Greek Slave, as it
is wide from the ideal
beauty of the antique,
would, upon an average
of suffrages, fail to esta-
blish its claims with the
present generation of be-
holder. It is a lengthy
leggy figure below; square
and high shouldered in
ilie upper part: the flesh
ins none of the plump-
ness and softness, the
attainment of which is
tiie triumph of the sculp-
tor's art; the arms, par-
ticularly the left one, un-
tolyspare. Secondly, the
s-itudc is constrained
»d inelegant. The figure "i^gl-.
15made to lean with the § ^^
pglithand against a post, --_>-"•
just a very Jittlc too low "ISd&j "
"i allow hur to reinttiii in :~-^S
w upright position : the ^sdflS
^sequence is, thalthero ■ "" " \
!s* departure from the V' X'
w.™ary repose of nature, -Jri^'v
;(«liout a sufficient ob- - X~X
m and an awkward out- -^
5" °a both sides of the '-'■ >"
*tte, but particularly ' "-,'
£"">left. It must not
wcapo remark, either,
..';5ni tixvryinu out this
fudged conceit of attitudinising.
■*ct« very prominently in the low.
tdS'» the right arm and sho
gW because it wants naturaln
iC™1?* dr'Wl1 °no way, the head
o is no seeing the full face but 1
No. 20, February 14. 1S62.
.ins beautiful; to us it is
eiiead too prominent for
I expression—and, of all
i attribute of womankind
v generally taken of this
;ho nose sharply pointing
outwards and' upwards,
instead of pursuing the
direct line from the fore-
head, so as to preserve
the oval form : the chin
prominent and lengthy
from the starting-point at
the neck ; and, to make
the matter worse, and to
complete the extrava-
gance of the outline, the
hair drawn up in a stiff
hard knot, when a fen-
loose loops falling half
tydoM '■
edoi
rslmes
othe:
the little
which with
the
the artist, whilst he has shown itB
!r parts of the buck, has overlooked it
ilder. The attitude is constrained and
.'Ss—because it wauls unity of purpose:
turned al.n-iipi.lv to the other; so that
,'ith a side view of the figure, and that
unhappy sla\
neatly displayed upon the
post against which she
leans; but wo think sho
would be puzzled to wear
such ti head-gear with her
present mode of coiynrc.
And now a few words
about the incident sup-
posed to be characterised
in this production. Not
to run the risk of doing
injustice, wo will copy
the official description
affixed to the statue:—
" The figure is that of
a young and beautiful
Greek girl, deprived of
her clothes and exposed
for sole to some wealthy
Eastern barbarian, before
whom she is supposed to
stand with an expression
of scornful dejection,
mingled with shame and
disgust." A very interest-
ing case, truly, but one
the knowledge of which
deprives the work of chat
legitimate charm "which
■■■■'. :■;.":■. ■ ■■■-■■.■'A attaches to tho mido
r .■■:."' figures of ancient art,
"■■■..,-. a. ■'-•'-,^-- ' wherein an obvious inno-
IBDOlka SVTU."--SffiPHBKS. cent unconsciousness of
dhiMbilk prevents all
compunctions on the score of propriety." The official account is particular
to inform us of tlie acoiir.de Mouthy of the Greek costume, and tho little,
cross; hut adds, "" the chains on the wrists are not historical, but have been
added as necessary accessories." Necessary to go beyond the truth to realise
the ivliolo of a very painful conception, which, wo submit, in its must
offensive incident—that of the denudation itself—is not, " historical! "
Price Ose EffltHT.
"■ Here i, ■
AN ILLUSTRATED CYCLOPEDIA OP THE GREAT EXHU3ITIOM OF 1851.
ARTS OF DESIGN AND.". DECORATION.
ffl
scuLr
-esume our notices 'of tho
i begin with Power's Greek
■.ivd in such a prominent positioi
,,i much wild and un-
^.•nini; encomium. "Wo
^shKebohiiy.thatwe
,■0 suit- join in the admira-
':0!i bestowed upon this
Xfe.aud as.we are aware
i ;hai. in so doing wo rim
waiter to opinions of the
—jority of the critics of
;:;e ilny. we may be per-
mitted to make a few
' more observations to ex-
T-J-iin. perhaps to justify,
position. First, the
I tirTU-c is ill studied: of
Lvuise, the proportions of
beauty are, to a great ex-
teut, matter of taste
Sculpture in the Great Exhibition.
Slave (sec p. 320}, which was thrust
i, and upon which king Mob lavished
side, as a point of view, subject to many objee
the head itself, we cannot consider it by any n
certainly not pleasing: it is too square; the fi
female beauty; the eyes too much sunk for ai
shades of expression, that of softness, which is tl
(in marble) ; and f.Uc profile, as it is the lirst vii
head, is unfortunately sis h\tsl agreeable aspect:
..'hir.len ;
but without
hying claim to infallibi-
lity in these matters, wo
aW that the figure of
[he Greek Slave, as it
is wide from the ideal
beauty of the antique,
would, upon an average
of suffrages, fail to esta-
blish its claims with the
present generation of be-
holder. It is a lengthy
leggy figure below; square
and high shouldered in
ilie upper part: the flesh
ins none of the plump-
ness and softness, the
attainment of which is
tiie triumph of the sculp-
tor's art; the arms, par-
ticularly the left one, un-
tolyspare. Secondly, the
s-itudc is constrained
»d inelegant. The figure "i^gl-.
15made to lean with the § ^^
pglithand against a post, --_>-"•
just a very Jittlc too low "ISd&j "
"i allow hur to reinttiii in :~-^S
w upright position : the ^sdflS
^sequence is, thalthero ■ "" " \
!s* departure from the V' X'
w.™ary repose of nature, -Jri^'v
;(«liout a sufficient ob- - X~X
m and an awkward out- -^
5" °a both sides of the '-'■ >"
*tte, but particularly ' "-,'
£"">left. It must not
wcapo remark, either,
..';5ni tixvryinu out this
fudged conceit of attitudinising.
■*ct« very prominently in the low.
tdS'» the right arm and sho
gW because it wants naturaln
iC™1?* dr'Wl1 °no way, the head
o is no seeing the full face but 1
No. 20, February 14. 1S62.
.ins beautiful; to us it is
eiiead too prominent for
I expression—and, of all
i attribute of womankind
v generally taken of this
;ho nose sharply pointing
outwards and' upwards,
instead of pursuing the
direct line from the fore-
head, so as to preserve
the oval form : the chin
prominent and lengthy
from the starting-point at
the neck ; and, to make
the matter worse, and to
complete the extrava-
gance of the outline, the
hair drawn up in a stiff
hard knot, when a fen-
loose loops falling half
tydoM '■
edoi
rslmes
othe:
the little
which with
the
the artist, whilst he has shown itB
!r parts of the buck, has overlooked it
ilder. The attitude is constrained and
.'Ss—because it wauls unity of purpose:
turned al.n-iipi.lv to the other; so that
,'ith a side view of the figure, and that
unhappy sla\
neatly displayed upon the
post against which she
leans; but wo think sho
would be puzzled to wear
such ti head-gear with her
present mode of coiynrc.
And now a few words
about the incident sup-
posed to be characterised
in this production. Not
to run the risk of doing
injustice, wo will copy
the official description
affixed to the statue:—
" The figure is that of
a young and beautiful
Greek girl, deprived of
her clothes and exposed
for sole to some wealthy
Eastern barbarian, before
whom she is supposed to
stand with an expression
of scornful dejection,
mingled with shame and
disgust." A very interest-
ing case, truly, but one
the knowledge of which
deprives the work of chat
legitimate charm "which
■■■■'. :■;.":■. ■ ■■■-■■.■'A attaches to tho mido
r .■■:."' figures of ancient art,
"■■■..,-. a. ■'-•'-,^-- ' wherein an obvious inno-
IBDOlka SVTU."--SffiPHBKS. cent unconsciousness of
dhiMbilk prevents all
compunctions on the score of propriety." The official account is particular
to inform us of tlie acoiir.de Mouthy of the Greek costume, and tho little,
cross; hut adds, "" the chains on the wrists are not historical, but have been
added as necessary accessories." Necessary to go beyond the truth to realise
the ivliolo of a very painful conception, which, wo submit, in its must
offensive incident—that of the denudation itself—is not, " historical! "
Price Ose EffltHT.