DOI Heft:
No. 391 (October 1925)
DOI Artikel:[Studio-talk]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21403#0270
PARIS
only feeling was one of indignation.
Costa's Poilu, on the contrary, seems to
rise out of the very earth, like a rock.
Helmeted, clad in a sweater and great-coat,
over which he wears a sheepskin, he is
calm and resolute, as France then said
she was. Also this figure (which is now
at La Rochelle) seems to me the most
perfect expression of the warrior ; and a
similar definitive character appertains to
another Poilu which Costa set up last
year at Pe^enas. 0000
Before the War, Costa had modelled a
Bacchus Enfant, a group, Bozufs, and some
decorative figures. But he has now given
up modelling and attacks his work without
any preliminary guide save his drawings.
In this fashion he executed his bas-relief,
VImagier and his statue, UHesperide, in
walnut. He has just done three bas-
reliefs—he Nain Guyon, La Fee Koridwen
and Tristan et Yseut—for the pergola of
" La Douce France " on the Esplanade
des Invalides at the Paris International
Exhibition. 0 0 0 0 0
At the present time Costa is one of
those whose opinion carries most weight
among the exponents of the taille directe
school, though these words hardly explain
the full meaning to be conveyed. They
certainly imply a return to the methods
of the craftsmen of antiquity, who always
worked with mallet and chisel in hand ;
but this looking back to the old technique
comprehends also in our minds an esthetic
revival, the importance of which is not
less. For, instead of allegories evolved
in the schools, we now ask of the sculptor
that he should draw his inspiration from
legend and religion. Taille directe, there-
fore, represents a spiritual movement in
sculpture—a movement rather vague in
its origins, and which at first hardly touched
the studios. There was a need that the
ideas it gave rise to should be embodied
in a corpus of criticism, and this work is
being done by " La Douce France."
Costa has been working with me on this
work for four years, along with Paul
Serusier, Georges Migot, Francois Bidet
and Phileas Lebesgue, and his collabora-
tion lends practical value to the movement.
His book, " Modeleurs et Tailleurs de
Pierre/' published in 1921, dealt both with
only feeling was one of indignation.
Costa's Poilu, on the contrary, seems to
rise out of the very earth, like a rock.
Helmeted, clad in a sweater and great-coat,
over which he wears a sheepskin, he is
calm and resolute, as France then said
she was. Also this figure (which is now
at La Rochelle) seems to me the most
perfect expression of the warrior ; and a
similar definitive character appertains to
another Poilu which Costa set up last
year at Pe^enas. 0000
Before the War, Costa had modelled a
Bacchus Enfant, a group, Bozufs, and some
decorative figures. But he has now given
up modelling and attacks his work without
any preliminary guide save his drawings.
In this fashion he executed his bas-relief,
VImagier and his statue, UHesperide, in
walnut. He has just done three bas-
reliefs—he Nain Guyon, La Fee Koridwen
and Tristan et Yseut—for the pergola of
" La Douce France " on the Esplanade
des Invalides at the Paris International
Exhibition. 0 0 0 0 0
At the present time Costa is one of
those whose opinion carries most weight
among the exponents of the taille directe
school, though these words hardly explain
the full meaning to be conveyed. They
certainly imply a return to the methods
of the craftsmen of antiquity, who always
worked with mallet and chisel in hand ;
but this looking back to the old technique
comprehends also in our minds an esthetic
revival, the importance of which is not
less. For, instead of allegories evolved
in the schools, we now ask of the sculptor
that he should draw his inspiration from
legend and religion. Taille directe, there-
fore, represents a spiritual movement in
sculpture—a movement rather vague in
its origins, and which at first hardly touched
the studios. There was a need that the
ideas it gave rise to should be embodied
in a corpus of criticism, and this work is
being done by " La Douce France."
Costa has been working with me on this
work for four years, along with Paul
Serusier, Georges Migot, Francois Bidet
and Phileas Lebesgue, and his collabora-
tion lends practical value to the movement.
His book, " Modeleurs et Tailleurs de
Pierre/' published in 1921, dealt both with