International studio (24.1904/1905(1905))

Blashfield's Mural Decorations


(Copyright, 1904, by E. H. Blashfield) {From Photograph by the W. D. Inslee Photo. Co., New York)
E. H. BLASHFIELD’S MURAL DECORATIONS IN THE MINNESOTA CAPITOL, AT ST. PAUL

the other one. Its centre glistens in assorted lights.
The robe of the presiding genius shows rich em-
broideries of gold, the wings of the two genii above
are iridescent and the little sprite below is in the
same light tonality. This little figure makes an
elastic contrast to the dignity in the centre. The
floating sprites show draperies of a carefully toned
red-and-gold brocaded stuff. This monumental
group forms an imposing centre, the straight hori-
zontal line across the oxens’ horns and the general
squareness of the mass forming a sculptural base to
support the statuesque figure above. Those vague
background figures connecting this centre with the
side groups are not unimportant in the painting.
With well-found colours they carry the eye across
easily; the solidified masses on either side are not as
isolated as they appear in the illustration. But
these side groups never interfere with the simple
statuesqueness of the centre. On one side are
soldiers and a hospital nurse, the Minnesota veter-
ans, who did so much to preserve the integrity of
the Union. The uplifted flag forms a spot to keep
company with an opposite one, the agricultural
offering of peace, fit emblem for the harvester; the
maternal figure and the suggestion of industries,
the side opposite to war. Note how kindly the
artist has tied these groups to the central one, by
means of the silken cords held by graceful sylphs
tucked in with the serious people. All these digni-
fied folk turn adoring eyes toward the glory of their
native State.
The scheme of colour is so arranged that the bal-
ance of the composition never fails. As in archi-

tecture there is always a pillar to support its fellow
on the opposite side of an opening, so here there is
a spot of form or a spot of colour on either side, each
the counterpart of the other in tint and shape,
though delightfully varied and ingeniously made
interesting. Beside the white oxen, as if they were
architectural forms, stand (one on either side) erect
figures in ripe-tinted green. These contrast in
colour with the select reds above, but unite with
them in so enclosing the pyramidal white group in
the centre, as to throw its monumental features into
greater prominence. On the right are two soldiers
in bluish colours. On the left are two women in
similar, though not exactly the same, colours. On
the right are drum, blanket-roll and canteen, play-
ing hide-and-seek in warm tints of yellowish and
reddish. On the left the woman carries a basket of
blue cabbages, humble emblem of abundance of
nourishing food, but blue enough to balance the
coats of the soldiers. Various accidents of colour in
the reaping machine, the man’s necktie and the half-
concealed pumpkin. recall the similar tints opposite.
All this is important to the artist. The literary man
will do well not to become so interested in the alle-
gory as to forget this attention to the architec-
tural essentials in the painting placed amid rigid
and balancing forms of marble. If I mistake not,
many artists would do well to give attention to it, so
masterful is this adjustment of parts.
Thus the history of Minnesota is written, in
colours, from the Civil War until the present mo-
ment. On the opposite side of the Senate Chamber
the lunette is filled by an opposite effect, contrasting

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