DOI Heft:
No. 181 (March, 1912)
DOI Artikel:Marke, G. Mortimer: The twenty-seventh annual exhibition of the Architectural League of New York
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43449#0371
Exhibition of the Architectural League of New York
fantastic schemes for chateaux, porticos, ceilings,
fountains, gardens, mantelpieces, frames and pure
decoration, executed with the marvelous innate
sense for design which seems to have existed at
the time, and drawn with a nicety of draughts-
manship which finds no counterpart in work of
today.
Part of the sculpture shown was in this central
gallery, including three characteristic pieces by
Karl Bitter, whose primitive Graeco-Assryian in-
spirations come to us by virtue of their unusual
appearance, as though they were the last word in
modern originality—and always with a note of
strength. Near them stands a cast of Tonetti’s
memorial to the late John M. Carrere, which is
dignified and pleasing in detail, even if it may be
said to be confused in composition.
In the sculpture class it is unfortunate that Mr.
A. A. Weinman’s splendid work for the New York
Municipal Building was shown only in photo-
graphs. These were excellent and showed work
of the highest order in architectural sculpture, but
one would like to have seen full-size plaster casts
of some of the pieces.
In the middle gallery hangs one of the most in-
teresting exhibits of the year—a panel of tapestry,
designed and executed by the Herter Looms. Not
since the days of William Morris, in England, has
combined art and craftsmanship reached so great
a height as in the work of Mr. Herter in reviving
this ancient art of tapestry weaving, and his ex-
hibit of this Renaissance Panel, beautiful in de-
sign, color, general “tone” and technique, seems
one of the most rare and serious things in the
entire exhibition.
Isidore Konti, Henry Hering, Mahonri Young,
Janet Scudder and Enid Yandell showed their
varied talents in sculpture, while Evelyn Beatrice
Longman was represented by a plaster replica of
her splendid doors for the new library at Wellesley
College.
Lastly, in the Vanderbilt Gallery, were to be
seen the architectural exhibits, which were thus
placed in the innermost gallery of the Fine Arts
Building, either to distinguish their dignity or
because they were driven there, so to speak, by the
mass of exhibits of mural paintings and “allied
arts” thronging the first two galleries.
On the central axis was a full-size cast of Daniel
C. French’s heroic statue for the Marshall Field
Memorial. Comparing by no means unfavorably
with this was A. S. Calder’s Statue of History, part
of a memorial, both dignified and strong.
In the division of domestic and landscape archi-
SCULPTURE FOR THE A. A. WEINMAN
NEW YORK MUNICIPAL BUILDING SCULPTOR
tecture there were both photographs and color
renderings from the offices of all these practitioners
whose work is in the public eye. Rollin Saltus,
landscape architect, showed a group of photo-
graphs illustrating a very successfully designed
garden at Mount Kisco. Jansen & Abbot, of
Pittsburgh, were represented by drawings of a
xvn
fantastic schemes for chateaux, porticos, ceilings,
fountains, gardens, mantelpieces, frames and pure
decoration, executed with the marvelous innate
sense for design which seems to have existed at
the time, and drawn with a nicety of draughts-
manship which finds no counterpart in work of
today.
Part of the sculpture shown was in this central
gallery, including three characteristic pieces by
Karl Bitter, whose primitive Graeco-Assryian in-
spirations come to us by virtue of their unusual
appearance, as though they were the last word in
modern originality—and always with a note of
strength. Near them stands a cast of Tonetti’s
memorial to the late John M. Carrere, which is
dignified and pleasing in detail, even if it may be
said to be confused in composition.
In the sculpture class it is unfortunate that Mr.
A. A. Weinman’s splendid work for the New York
Municipal Building was shown only in photo-
graphs. These were excellent and showed work
of the highest order in architectural sculpture, but
one would like to have seen full-size plaster casts
of some of the pieces.
In the middle gallery hangs one of the most in-
teresting exhibits of the year—a panel of tapestry,
designed and executed by the Herter Looms. Not
since the days of William Morris, in England, has
combined art and craftsmanship reached so great
a height as in the work of Mr. Herter in reviving
this ancient art of tapestry weaving, and his ex-
hibit of this Renaissance Panel, beautiful in de-
sign, color, general “tone” and technique, seems
one of the most rare and serious things in the
entire exhibition.
Isidore Konti, Henry Hering, Mahonri Young,
Janet Scudder and Enid Yandell showed their
varied talents in sculpture, while Evelyn Beatrice
Longman was represented by a plaster replica of
her splendid doors for the new library at Wellesley
College.
Lastly, in the Vanderbilt Gallery, were to be
seen the architectural exhibits, which were thus
placed in the innermost gallery of the Fine Arts
Building, either to distinguish their dignity or
because they were driven there, so to speak, by the
mass of exhibits of mural paintings and “allied
arts” thronging the first two galleries.
On the central axis was a full-size cast of Daniel
C. French’s heroic statue for the Marshall Field
Memorial. Comparing by no means unfavorably
with this was A. S. Calder’s Statue of History, part
of a memorial, both dignified and strong.
In the division of domestic and landscape archi-
SCULPTURE FOR THE A. A. WEINMAN
NEW YORK MUNICIPAL BUILDING SCULPTOR
tecture there were both photographs and color
renderings from the offices of all these practitioners
whose work is in the public eye. Rollin Saltus,
landscape architect, showed a group of photo-
graphs illustrating a very successfully designed
garden at Mount Kisco. Jansen & Abbot, of
Pittsburgh, were represented by drawings of a
xvn