DOI chapter:
Chapter III Of the Three Leaders, and of Moral Earnestness in Art
DOI Page / Citation link:https://doi.org/10.11588/diglit.65493#0093
AMERICAN SCULPTURE
59
their Middle-Border pioneer activities
into the more genial milieu to be found
among our Eastern salt-water cities.
Living from 1830 to 1910, and work-
ing sixty years in his art, Ward has
rightly been called the Colossus that
bestrides the two separate worlds of
our former and latter periods in sculp-
ture. Though he founded no school,
his influence has been far-reaching.
His Beecher statue, flanked by its two
lyrical groups, his Garfield monument
with its attendant epic groups of War
and Peace, his noble equestrian figure
of General Thomas are among a host
of sterling works that prove him the
“all round’’ sculptor. In his youth,
he played a well-known and highly
practical part in the making of Brown’s
equestrian statue of Washington, one
of the best-praised and worst-placed
monuments in the city of New York.
Since the praise is deserved, the plac-
ing discredits us far more than it does
JOHN QUINCY ADAMS WARD
59
their Middle-Border pioneer activities
into the more genial milieu to be found
among our Eastern salt-water cities.
Living from 1830 to 1910, and work-
ing sixty years in his art, Ward has
rightly been called the Colossus that
bestrides the two separate worlds of
our former and latter periods in sculp-
ture. Though he founded no school,
his influence has been far-reaching.
His Beecher statue, flanked by its two
lyrical groups, his Garfield monument
with its attendant epic groups of War
and Peace, his noble equestrian figure
of General Thomas are among a host
of sterling works that prove him the
“all round’’ sculptor. In his youth,
he played a well-known and highly
practical part in the making of Brown’s
equestrian statue of Washington, one
of the best-praised and worst-placed
monuments in the city of New York.
Since the praise is deserved, the plac-
ing discredits us far more than it does
JOHN QUINCY ADAMS WARD