American Masters of Sculpture: Being Brief Appreciations of Some American Sculptors and of Some Phases of Sculpture in AmericaCaffin, Charles H. (Charles Henry)
History
American Masters of Sculpture: Being Brief Appreciations of Some American Sculptors and of Some Phases of Sculpture in America
Caffin, Charles H. (Charles Henry)
Sculptors -- United States
I urge this point because some of his subsequent works might lead one to
suppose that he is lacking in imagination and absorbed exclusively in
the exercise of a very accomplished, graceful and refined technique.
Thus his statue of “Law” in the rotunda of the Library of Congress at
Washington reveals no higher conception than that of a refined young
woman in classic draperies, holding a scroll and resting one hand upon
a table of the law; a personification entirely superficial and only
redeemed from mediocrity by the tactful elegance of the modelling.
But, while he was engaged on this, he was pondering another statue which
hit his interest closely. The artist in him that could not be aroused to
enthusiasm by an abstraction, such as “Law,” awoke to the personal
matter of portraying the greatest master of his own craft. His
imagination was enlisted, and after much delay--for his conscience was
very truly involved in this work and he had an ideal that to his utmost
ability he would reach--the “Michelangelo” was completed; a work of
sincere imagination; of most arresting and moving appeal.
Then followed a commission for an equestrian statue of Lafayette; and,
after making the preliminary sketch for it in New York, he returned to
Paris to execute it. It was there, too, that he had conceived and
executed the “Michelangelo”; but with this “Lafayette” his imagination
again failed him. Through lack of interest in the subject, I wonder, or
lack of incentive in the environment, or lack of stability in himself?
For from this statue which stands in the Place du Carrousel, a gift from
the children of America, judged at least from the full-sized model
temporarily erected for the ceremony of presentation in 1900, one
receives mainly an impression of elegance. An elegance certainly
monumental; raised to the dignity of a motive and incorporated into a
fine structure of form, yet a little bit pretentious. It is as if the
sculptor had no higher purpose than to prove his capability as a
stylist. He has certainly succeeded; but the statue is more than a
trifle modish.
Public-domain text, read in full here on John Shaqi.
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