Art in America: A Critical and Historial SketchBenjamin, S. G. W. (Samuel Greene Wheeler)
History
Art in America: A Critical and Historial Sketch
Benjamin, S. G. W. (Samuel Greene Wheeler)
Art, American
[Illustration: "COLUMBUS BEFORE THE COUNCIL."--[FROM THE BRONZE DOOR OF
THE CAPITOL AT WASHINGTON.--RANDOLPH ROGERS.]]
Hiram Powers must always be assigned a commanding position in our
Western art, even by those who are not enthusiastic admirers of his
works. A farmer's boy of the Green Mountains, he early exchanged Vermont
for the bustling streets of Cincinnati, where an ampler scope was
offered to the aspiring energies of the founder of American sculpture.
Like many of our sculptors, a turn for mechanics, characteristic of the
inventive mind of the people, was combined in him with a capacity for
art, and this, which at first found vent in a study of the inventions of
the time, enabled him in maturer life to facilitate the means of art
expression by valuable inventions. Palmer and several other American
sculptors have also aided the art in a similar way. From modelling in
wax, which aroused great local interest, young Powers proceeded to
modelling in plaster, under the tuition of a German artist resident in
Cincinnati, and, aided by the generous patronage of Mr. Longworth--to
whose liberality toward our artists American art is greatly indebted--he
soon received numerous commissions for portrait busts of some of our
most notable public men, such as Webster, Jackson, Marshall, and
Calhoun. Notwithstanding his lack of training and art associations,
Powers executed some of these portraits with a vigor worthy of the
subjects, and scarcely equalled by any of his subsequent work.
In 1837 Powers decided to go to Italy, whither Greenough had already
preceded him, led thither, like many since, by superior art advantages
and economical reasons, which still sway our sculptors at a time when it
would seem that it would be more profitable, so far as native art is
concerned, for them to remain here. Several of our sculptors have
acknowledged to the writer that the time has come for their art to grow
up under the home influences which are to regulate the art of the
future, but that the question of economy forces them to live in Florence
and Rome.
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