DOI issue:
The international Studio (August, 1908)
DOI article:Mechlin, Leila: The National Sculpture Society's exhibition at Baltimore, 2, Imaginative work
DOI Page / Citation link: https://doi.org/10.11588/diglit.28255#0383
National Sculpture Society
the workman is unfamiliar with his tools; and in
later days a public demanding chiefly monuments
and memorials has encouraged the production of
work essentially grave. It is time now for a holi-
day, and some have found it out. To be light is
not to be frivolous, and to provoke a smile no
crime. Indeed, if truth were told, it would be found
that a sculptor’s play-work is most frequently his
best work—that produced in an idle hour through
the sheer love of creation the most indicative of
his power. Already some of those who own large
estates in this new land of ours have begun to
PARADISE LOST
BY HANS SCHULER
fountain—a mother and child—was also interest-
ing, though more usual; and Miss Enid Yandell’s
Lotis Flower Fountain, for originality of conception
and treatment, was likewise worthy of remark.
Within the past few years a note of gaiety has
crept into our sculpture which is both welcome and
attractive. While sculpture is in a measure an aus-
tere art, it need not concern itself perpetually with
solemnity. To the early sculptors of America art
was a serious business, as is any occupation when
THE SEPARATION OF BY J. MAXWELL
ORPHEUS AND EURYDICF. MILLER
XLV
the workman is unfamiliar with his tools; and in
later days a public demanding chiefly monuments
and memorials has encouraged the production of
work essentially grave. It is time now for a holi-
day, and some have found it out. To be light is
not to be frivolous, and to provoke a smile no
crime. Indeed, if truth were told, it would be found
that a sculptor’s play-work is most frequently his
best work—that produced in an idle hour through
the sheer love of creation the most indicative of
his power. Already some of those who own large
estates in this new land of ours have begun to
PARADISE LOST
BY HANS SCHULER
fountain—a mother and child—was also interest-
ing, though more usual; and Miss Enid Yandell’s
Lotis Flower Fountain, for originality of conception
and treatment, was likewise worthy of remark.
Within the past few years a note of gaiety has
crept into our sculpture which is both welcome and
attractive. While sculpture is in a measure an aus-
tere art, it need not concern itself perpetually with
solemnity. To the early sculptors of America art
was a serious business, as is any occupation when
THE SEPARATION OF BY J. MAXWELL
ORPHEUS AND EURYDICF. MILLER
XLV