DOI Heft:
No. 289 (April 1917)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.24576#0144
Studio-Talk
of the Scottish capital is the supreme embodi-
ment of his art in its realization of a great
statesman, and its symbolic representation of
the inward qualities which led to eminence. It
is an epic in bronze and stone. A. E.
The two larger statues History and Eloquence
bear a most important place in the design, and
their position removed from the central group
suggests that they represent these less intimate
and more general qualities associated with the
life of Gladstone. The hooded sibylline History
is the dispassionate recorder for all time.
Eloquence, on the contrary, appeals for the
verdict of the moment, yet there is nothing
energetic or impulsive in her mien, but an
earnest persuasiveness, a feature of Gladstone’s
public speech which was as powerful in winning
support as the perfervid oratory that cha-
racterized his denunciatory utterances. The
group on the rostrum—two boys holding a
scroll—is restrainedly decorative yet full of
vitality. These finely modelled nude acolytes
are depositing the laurel wreath of victory on
a tripod on which
are represented three
gleds, or kites, an
allusion to the family
name in its original
spelling, “ Gled-
stane.
CHRISTIANIA.—Olaf Willums is a
young Norwegian artist of consider-
able promise, with an appreciation
both of the different motijs which
appeal to him and of the treatment to which
they most advantageously lend themselves.
The result is a clever and pleasing rendering
of widely varying subjects, to which justice,
in almost all cases, has been done with a certain
self-contained sincerity, as a rule equally far
removed from aggressive radicalism and stale
tradition. Of the latter, anvhow, there is
The artist in this
truly national monu-
ment has advanced
Scottish sculpture to
a stage it has not
hitherto occupied. A
painter for some
years, Dr. MacGil-
livray, though con-
centrating for the
greater part of his
artistic life on sculp-
ture, has from time
to time shown the
vein of Celtic imagi-
nation that pulsates
within him by son-
nets that evince a
deep insight into
human nature and a
wide sympathy with
the impulses which
lead to noble action.
But the memorial
which from its ele-
vated position faces
the historic old town
»)
134
" SPRING
FROM A COLOUR-PRINT BY OLAF WILLUMS
of the Scottish capital is the supreme embodi-
ment of his art in its realization of a great
statesman, and its symbolic representation of
the inward qualities which led to eminence. It
is an epic in bronze and stone. A. E.
The two larger statues History and Eloquence
bear a most important place in the design, and
their position removed from the central group
suggests that they represent these less intimate
and more general qualities associated with the
life of Gladstone. The hooded sibylline History
is the dispassionate recorder for all time.
Eloquence, on the contrary, appeals for the
verdict of the moment, yet there is nothing
energetic or impulsive in her mien, but an
earnest persuasiveness, a feature of Gladstone’s
public speech which was as powerful in winning
support as the perfervid oratory that cha-
racterized his denunciatory utterances. The
group on the rostrum—two boys holding a
scroll—is restrainedly decorative yet full of
vitality. These finely modelled nude acolytes
are depositing the laurel wreath of victory on
a tripod on which
are represented three
gleds, or kites, an
allusion to the family
name in its original
spelling, “ Gled-
stane.
CHRISTIANIA.—Olaf Willums is a
young Norwegian artist of consider-
able promise, with an appreciation
both of the different motijs which
appeal to him and of the treatment to which
they most advantageously lend themselves.
The result is a clever and pleasing rendering
of widely varying subjects, to which justice,
in almost all cases, has been done with a certain
self-contained sincerity, as a rule equally far
removed from aggressive radicalism and stale
tradition. Of the latter, anvhow, there is
The artist in this
truly national monu-
ment has advanced
Scottish sculpture to
a stage it has not
hitherto occupied. A
painter for some
years, Dr. MacGil-
livray, though con-
centrating for the
greater part of his
artistic life on sculp-
ture, has from time
to time shown the
vein of Celtic imagi-
nation that pulsates
within him by son-
nets that evince a
deep insight into
human nature and a
wide sympathy with
the impulses which
lead to noble action.
But the memorial
which from its ele-
vated position faces
the historic old town
»)
134
" SPRING
FROM A COLOUR-PRINT BY OLAF WILLUMS