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#0119
AMERICAN SCULPTURE
79
ed in the course of every great artist.
With Ward it is one thing, with Saint-
Gaudens another. With Daniel Ches-
ter French, born in Exeter, New
Hampshire, in 1850, the unexpected
thing is that in his art education he
seems somehow to have skipped the
slow Preamble and the voluminous
Whereas, and to have reached almost
at a bound the precincts of the Re-
solved. Concord has never lacked fav-
orite sons, and young Daniel among
the lions of that town of his later boy-
hood felt only their appreciation and
encouragement. But with one year in
Florence, spent largely under the geni-
al influence of Thomas Ball, sculptor
of the first equestrian monument
placed in New England, his so-called
study-period ends. A pediment for
the St. Louis Custom House awaits
him in 1877; within the next few
years he executes similar architectural
sculpture for Philadelphia and Boston.
DANIEL CHESTER FRENCH
79
ed in the course of every great artist.
With Ward it is one thing, with Saint-
Gaudens another. With Daniel Ches-
ter French, born in Exeter, New
Hampshire, in 1850, the unexpected
thing is that in his art education he
seems somehow to have skipped the
slow Preamble and the voluminous
Whereas, and to have reached almost
at a bound the precincts of the Re-
solved. Concord has never lacked fav-
orite sons, and young Daniel among
the lions of that town of his later boy-
hood felt only their appreciation and
encouragement. But with one year in
Florence, spent largely under the geni-
al influence of Thomas Ball, sculptor
of the first equestrian monument
placed in New England, his so-called
study-period ends. A pediment for
the St. Louis Custom House awaits
him in 1877; within the next few
years he executes similar architectural
sculpture for Philadelphia and Boston.
DANIEL CHESTER FRENCH