The Little Review, April 1916 (Vol. 3, No. 2)Various
General
The Little Review, April 1916 (Vol. 3, No. 2)
Various
Literature, Modern -- 20th century -- Periodicals
... I have seen much of Lindsay’s advice followed word for word since
this book of his was published. Tyrone Power in _The Dream of Eugene
Aram_. Power’s face and figure were more majestic on the stage than in
this picture. There was a “sculpture-group,” as you would call it, in
this picture—a farmer and two squires on a hilltop. It was in
silhouette, a _sketch_ and not sculpture. The nearest I have seen to the
majesty and immobility of sculpture, marble or otherwise, was the head
of William S. Hart in _The Aryan_. The picture was shadowed so as to
center on his poetic face, the fascination of which none but Forbes
Robertson’s has. Hart’s face on the screen, his eyes looking into the
eyes of you, at his throat a handkerchief of white—a bust by an artist
indeed! But the shadows parted, and the hieroglyphic-crowded background
came into view. Hart’s head moved, became part of a _moving picture_ and
sculpture was no more. The moment was worth it—but it _moved_....
“Moving pictures are pictures and not sculpture”, says Lorado Taft in a
public statement, objecting to Lindsay’s phrase. “To a sculptor the one
thing cherished as most essential to his art is its static quality, its
look of absolute quiescence. It is the hint of eternity which marks and
makes all monumental art”.... Has Lindsay no feeling for sculpture?
Frank Lloyd Wright has models in plaster of some of his
buildings—“modern” skyscrapers, hotels, and homes, growing, rising
upward, white and beautiful. It was these works of architecture which
called forth the phrase “flowers in stone”. He alone, it seems, has made
art of architecture in our day. He objects to Lindsay saying his art can
be that of moving pictures; its very literalness, its actualness being
the very negation of the soul and constitution of art. In _The Dumb Girl
of Portici_ the Smalleys, as inspired as any of the producers, used the
entire Field Museum in Jackson Park, Chicago, as a background for a
pageant of Italian royalty, of the middle ages. Insisting on
architecture can spoil pictures. It did this one.
Public-domain text, read in full here on John Shaqi.
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