International studio (57.1915/1916)

Sculpture at the Panama-Pacific Exposition

Previous to the Centennial Exhibition of 1876
there was, strictly speaking, no sculpture worthy
the appellation in America. While such prim-
itives as William Rush and John Frazee practised
their profession with commendable integrity of
purpose, they were hardly more than indifferently
equipped craftsmen. Whatever their shortcom-
ings they are nevertheless entitled to an ampler
measure of consideration than are their preten-
tious successors, Horatio Greenough and Hiram
Powers, who espoused the emasculated classicism
so much in vogue during the early decades of
the last century. Drifting farther and farther
from the true Attic spirit, which is essentially
concrete, they led the taste of the day into a
realm of vapid abstraction. The sense of per-
sonality was sacrificed to a smooth, characterless
finish. The figures showed no real vitality,
and in general conception were not infrequently
the antithesis of that which is inherently sculp-
tural. It was not indeed until our leading
artists turned from Rome to Paris, from the
immemorial dust of the city by the Tiber to the
purple haze which hangs over the Seine that
conditions betrayed substantial improvement.
If it was the Paris trained artists who, during
the ensuing interval, made possible the splendid
plastic pageant which was such an inspiring
feature of the World’s Columbian Exposition of
1893, it is likewise certain Paris men, with the
assistance of a few home-taught talents, who are
responsible for the results witnessed at San
Francisco. Sculpture here for the first time in
the annals of American art assumes its rightful
place in a broadly conceived decorative scheme.
Not only has it been admirably correlated with
architecture; it has also been accorded its proper
position as a component part of the landscape.
Having already touched upon the sculpture at
the Panama-Pacific Exposition in its relation to
the several buildings, we may turn to its applica-
tion to more informal outdoor problems. While
the ornamental and monumental sculpture at
San Francisco is but a trifle less banal than
customary the various groups and single figures
dotted about the grounds disclose certain engaging
effects. They appear to the best advantage
when most closely identified with purely natural
backgrounds. Those which create the finest
impression are in fact those that seem spontane-
ously to spring from their surroundings. Sculpture
of this character should be the epitome of earth,

sky, tree, and plant. It is nature herself, it is
the veritable spirit of place, which should sug-
gest to the artist his theme and treatment, for
only thus can he work with that sympathy and

French Section, Panama-Pacific Exposition
YOUNG GIRL WITH VESSEL BY JOSEPH BERNARD


comprehension which go so far toward making
for lasting achievement.
A leisurely, receptive stroll in the proximity
of the Palace of Fine Arts will be sufficient to
vindicate the above contention. Silhouetted
against luxuriant foliage or warm-toned wall

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