DOI article:
Reddie, Arthur: Albert Toft: Sculptor
DOI Page / Citation link:https://doi.org/10.11588/diglit.21214#0026
Albert Toft, Sculptor
sculpture is not sufficiently studied, and its import-
ance is not appreciated to the extent it deserves.
The task of the sculptor is no light one. What
can be more dead than a lump of clay ? What more
inert and lifeless than a mass of stone ? The art
of the sculptor lies in not merely fashioning the
raw material into a semblance of natural form,
not merely in achieving the outward representation
of the subject, but his work, if it is to possess any
vital significance, must convey an idea, must
enshrine a thought : the artist must, in truth,
breathe a soul into his clay and make the marble
pulsate with life. He can put nothing into his art
that does not spring from within himself, and is
only able to express adequately his inward emotion
if his knowledge and command of his craft are pro-
found and sincere.
The keynote of Mr. Toft’s work is a deep
searching after truth ; and first of all after truth to
nature, for it is only thus that he can achieve
ultimately truth to his ideal. To be constantly
studying, to be ever adding to his appreciation
and understanding of natural forms upon which,
as he says, all the finest design is based, this is his
watchword. So the essence of his work is a close
broider further upon the well-
worn theme of the “ Prophet
without honour . . .” ?
Alfred Stevens, Onslow
Ford, Swan, and Alfred
Gilbert are names to be
proud of; and besides these
and a number of others
whose achievements have
contributed greatly to the
advancement of plastic art in
this country during the past
half-century, we are fortunate
in possessing a considerable
school of contemporary sculp-
tors whose work is unques-
tionably worthy of serious
regard. The Royal Academy
which relegates the sculptures
to two rather small and in-
variably much overcrowded
galleries is to some extent
responsible for the apathy on
the part of the public. Even
to a greater degree than pic-
tures do glyptic works suffer
from close proximity to one
another, but in this country
the proper exhibiting of
standing reproach to us, as a nation, that the
musician with a foreign sounding name stood a
better chance of a hearing than one with a plain
British patronymic; and this notwithstanding that
we possessed in this country a highly interesting
school of modern composers and many talented
performers. Things have been, however, gradually
changing, and we are now no longer content to
submit to being told that “we are not a musical
nation,” that “ we are not an artistic nation,” by
those would-be superior folks, whose attitude
toward things in general W. S. Gilbert humor-
ously summed up in the Lord High Executioner’s
song in “ The Mikado ” :
“ The idiot who praises, with enthusiastic tone,
All centuries but this, and ev’ry country but his own.”
In the region of the plastic arts this tendency
has not been entirely unnoticed, and in particular
with regard to the work of our native sculptors
there has been some lack of appreciation and
encouragement. When our artists have shown
their works in foreign exhibitions the British
Section has always been accorded a full meed of
praise. Yet, at home !—but what need to em-
20
EDUCATION . DETAIL OF THE KING EDWARD MEMORIAL AT BIRMING-
HAM. BY ALBERT TOFT
sculpture is not sufficiently studied, and its import-
ance is not appreciated to the extent it deserves.
The task of the sculptor is no light one. What
can be more dead than a lump of clay ? What more
inert and lifeless than a mass of stone ? The art
of the sculptor lies in not merely fashioning the
raw material into a semblance of natural form,
not merely in achieving the outward representation
of the subject, but his work, if it is to possess any
vital significance, must convey an idea, must
enshrine a thought : the artist must, in truth,
breathe a soul into his clay and make the marble
pulsate with life. He can put nothing into his art
that does not spring from within himself, and is
only able to express adequately his inward emotion
if his knowledge and command of his craft are pro-
found and sincere.
The keynote of Mr. Toft’s work is a deep
searching after truth ; and first of all after truth to
nature, for it is only thus that he can achieve
ultimately truth to his ideal. To be constantly
studying, to be ever adding to his appreciation
and understanding of natural forms upon which,
as he says, all the finest design is based, this is his
watchword. So the essence of his work is a close
broider further upon the well-
worn theme of the “ Prophet
without honour . . .” ?
Alfred Stevens, Onslow
Ford, Swan, and Alfred
Gilbert are names to be
proud of; and besides these
and a number of others
whose achievements have
contributed greatly to the
advancement of plastic art in
this country during the past
half-century, we are fortunate
in possessing a considerable
school of contemporary sculp-
tors whose work is unques-
tionably worthy of serious
regard. The Royal Academy
which relegates the sculptures
to two rather small and in-
variably much overcrowded
galleries is to some extent
responsible for the apathy on
the part of the public. Even
to a greater degree than pic-
tures do glyptic works suffer
from close proximity to one
another, but in this country
the proper exhibiting of
standing reproach to us, as a nation, that the
musician with a foreign sounding name stood a
better chance of a hearing than one with a plain
British patronymic; and this notwithstanding that
we possessed in this country a highly interesting
school of modern composers and many talented
performers. Things have been, however, gradually
changing, and we are now no longer content to
submit to being told that “we are not a musical
nation,” that “ we are not an artistic nation,” by
those would-be superior folks, whose attitude
toward things in general W. S. Gilbert humor-
ously summed up in the Lord High Executioner’s
song in “ The Mikado ” :
“ The idiot who praises, with enthusiastic tone,
All centuries but this, and ev’ry country but his own.”
In the region of the plastic arts this tendency
has not been entirely unnoticed, and in particular
with regard to the work of our native sculptors
there has been some lack of appreciation and
encouragement. When our artists have shown
their works in foreign exhibitions the British
Section has always been accorded a full meed of
praise. Yet, at home !—but what need to em-
20
EDUCATION . DETAIL OF THE KING EDWARD MEMORIAL AT BIRMING-
HAM. BY ALBERT TOFT