International studio (58.1916)

An American Sculptor: Cyrus E. Dallin

strange exterior. The horns upon the head of the
Medicine Man, or priest, symbolised the power of
the Great Spirit: his nudity typified the utter help-
lessness of man in contrast to this almighty power.”
The deep impression that Mr. Dahin’s sculpture
has produced on this usually unimpressionable race
is the highest tribute that can be paid his genius.
A sincere seeker after truth, this sculptor gives
us all the characteristics of his individual models,
but in them he perceives, with the vision of the
seer, the prophet, types of a race that has fallen
under that terrible law, “ the survival of the fittest.”
In talking of his work Mr. Dallin said : “ I always
strive to express some emotion because I believe
that to be the only thing which constitutes art. Of
course, we must have technique, the more perfect
the better, but we care too much to-day for the
manner in which a thing is done. Unless a statue,
a picture expresses something, unless it has some
message to convey, I consider it useless. Now

Rodin possesses emotion and the power of com-
municating it to his work-, so that ah who study it
must know that he is a great man, that he has a
bigger gamut than any living; sculptor. I do not
mean that I like all his things; often I see some-
thing that makes me feel ‘ I wish he had not.’
But he is making visible the age in which he lives,
and you know that this age has a neurotic side.
Nearly ah French sculptors make the external, the
appearance, very perfect; their technique is marvel-
lous, but they lack Rodin’s powers of perception
and expression; he sees and understands more
profoundly; he gives us life. That is because
he works as the Greeks worked, from Nature;
he is their legitimate descendant. Rodin, Michel-
angelo, the Greeks ! ”
This eulogy of a fellow-sculptor shows the large-
ness of Mr. Dallin’s mind ; he possesses another un-
failing quality of genius—simplicity. “ We artists
are always children, hoping, expecting something
new and wonderful to
happen. I tell my pupils
that art keeps us young
because it keeps us close
to Nature. So long as we
study her we have enthusi-
asm for our ■work, we grow;
growth is a characteristic
of youth, old age alone
stands still. When we no
longer progress we are old,
no matter what our years
may be.”
Judging by his work,
there is no danger of Mr.
Dallin’s growing old. His
sculptural qualities con-
tinue to improve, his
mastery of technique in-
creases. His stooping
figure of The Hunter is
so alive that we watch
to see this warrior leap,
with a single movement,
in pursuit of game or to
defend himself from some
hidden enemy. In order
to be ever prepared, the
Indians crouch to drink,
tossing the water up with
their hands, instead of
lying flat and taking it in
their mouths, as do more
civilised woodsmen.


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