DOI Heft:
No. 235 (October 1912)
DOI Artikel:McAllister, Isabel G.: Edward Lanteri: sculptor and professor
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21158#0047
Edward Lanteri
Edward lanteri: sculptor
AND PROFESSOR. BY I. G.
MCALLISTER.
Introductory Note by Mr. Alfred Gilbert.
Before you, you have an excellent account of
the material side of a life’s devotion.
The greatness of a master’s teaching is not
necessarily proved by the productions of his pupils,
but rather by their power to produce at all. It is
no fault of the master if the pupil has been unable
to follow him in aught but dexterity, for it is no
part of a teacher’s task to attempt to supply genius,
nor yet artistic intelligence.
His labour is at an end when the pupil has
acquired all that can be taught, i.e. how to ex-
press himself. There can be no doubt but that
the revival of sculpture in England in recent times
owes its inception and development to a systematic
and intelligent training directed by one who has
known how to lend the weight of his personality as
a master as well as a teacher, and has thus been
steadily creating an artistic moral influence worthy
of the best traditions. To Edward Lanteri, the
maker of many things, the originator of a multi
tude of ideas—Edward Lanteri, always the self-
sacrificing and self-effacing master and friend—we
are indebted for our school. It is a mistake to
class this father of a revival with mere teachers of
dexterity. Fate decreed that this man of infinite
sensibility, subtle imagination and inflexible will,
endowed, too, with natural poetical instincts,
should sink all to benefit others by teaching them
how to express themselves. England should be
grateful to such a master for its awakening from
a sleep of endless sorrow to a vision of future
joy.
It is certain that hundreds who have enjoyed his
loving and unwearying care will
join their gratitude to that of one
who was his first pupil nigh forty
years ago . Alfred Gilbert.
Bruges 1912.
As sculptor and as master, the
name of Edward Lanteri is known
and revered throughout the king-
dom. The history of his career is
most interesting, and is especially
instructive as showing how a great
national educational work can find
its centre of inspiration as well as
vital impulse to development in
the steadfast efforts of one man.
And it must be a great satisfaction
to the master—a satisfaction
seldom realised in such cases—
that he is able to see the far-
reaching and permanent character
of the results in his own lifetime.
M. Lanteri very early began his
art studies in Paris under Aime
Millet and M. Lecocq de Bois-
baudran ; at the Ecole des Beaux-
Arts he studied under Guillaume
and Cavelier; and, as was the case
with his predecessor, the great
Dalou, his marvellous rapidity
of execution, and the telling
and expressive touches so cha-
racteristic of him, are to be
traced directly to the sound know-
ledge of “life” work gained by
25
STUDY OF A baby’s HEAD
BY EDWARD LANTERI
Edward lanteri: sculptor
AND PROFESSOR. BY I. G.
MCALLISTER.
Introductory Note by Mr. Alfred Gilbert.
Before you, you have an excellent account of
the material side of a life’s devotion.
The greatness of a master’s teaching is not
necessarily proved by the productions of his pupils,
but rather by their power to produce at all. It is
no fault of the master if the pupil has been unable
to follow him in aught but dexterity, for it is no
part of a teacher’s task to attempt to supply genius,
nor yet artistic intelligence.
His labour is at an end when the pupil has
acquired all that can be taught, i.e. how to ex-
press himself. There can be no doubt but that
the revival of sculpture in England in recent times
owes its inception and development to a systematic
and intelligent training directed by one who has
known how to lend the weight of his personality as
a master as well as a teacher, and has thus been
steadily creating an artistic moral influence worthy
of the best traditions. To Edward Lanteri, the
maker of many things, the originator of a multi
tude of ideas—Edward Lanteri, always the self-
sacrificing and self-effacing master and friend—we
are indebted for our school. It is a mistake to
class this father of a revival with mere teachers of
dexterity. Fate decreed that this man of infinite
sensibility, subtle imagination and inflexible will,
endowed, too, with natural poetical instincts,
should sink all to benefit others by teaching them
how to express themselves. England should be
grateful to such a master for its awakening from
a sleep of endless sorrow to a vision of future
joy.
It is certain that hundreds who have enjoyed his
loving and unwearying care will
join their gratitude to that of one
who was his first pupil nigh forty
years ago . Alfred Gilbert.
Bruges 1912.
As sculptor and as master, the
name of Edward Lanteri is known
and revered throughout the king-
dom. The history of his career is
most interesting, and is especially
instructive as showing how a great
national educational work can find
its centre of inspiration as well as
vital impulse to development in
the steadfast efforts of one man.
And it must be a great satisfaction
to the master—a satisfaction
seldom realised in such cases—
that he is able to see the far-
reaching and permanent character
of the results in his own lifetime.
M. Lanteri very early began his
art studies in Paris under Aime
Millet and M. Lecocq de Bois-
baudran ; at the Ecole des Beaux-
Arts he studied under Guillaume
and Cavelier; and, as was the case
with his predecessor, the great
Dalou, his marvellous rapidity
of execution, and the telling
and expressive touches so cha-
racteristic of him, are to be
traced directly to the sound know-
ledge of “life” work gained by
25
STUDY OF A baby’s HEAD
BY EDWARD LANTERI