The Sculpture and Mural Decorations of the Exposition: A Pictorial Survey of the Art of the Panama-Pacific international exposition — John Shaqi
The Sculpture and Mural Decorations of the Exposition: A Pictorial Survey of the Art of the Panama-Pacific international expositionPerry, Stella G. S. (Stella George Stern)
General
The Sculpture and Mural Decorations of the Exposition: A Pictorial Survey of the Art of the Panama-Pacific international exposition
Perry, Stella G. S. (Stella George Stern)
Panama-Pacific International Exposition (1915 : San Francisco, Calif.); Sculpture, American
One of the most serious and thoughtful works of the Exposition sculpture
is the Column of Progress which faces the bay at the end of the
Forecourt of Stars. This column represents with direct imagery the
upward progress of man. The shaft itself is sculptured with
conventionalized waves in a gradually ascending spiral, upon which a
repeated vessel, the Ship of Life, sails upward, indicating the slow
upward rise of our life. The lower panels, significant of man's
endeavors, are described on the following page. The crowning group, "The
Adventurous Bowman," noble in intent and in sculptural power, is from
the hand of Hermon A. MacNeil. At the highest point of man's
achievement, stands this Adventurous Bowman, the super-hero, the leader,
the man with insight into the future, who shoots his arrow into the Sun
of Truth. Behind him the next man supports and is protected, by him.
Beside him kneels the woman with his reward in her hands. The frieze
beneath the group shows the Burden-Bearers on whose shoulders the hero
stands - an arresting thought; reminder of the true values in modern
life.
Frieze
Base, Column of Progress
The four panels at the base of the Column of Progress sympathetically
express its exalted idealism. They are by Isadore Konti, in richly
wrought high relief. The play of color values, the planes of light and
shade, are handled with mastery. These four panels indicate that the
thought, the dream, the aspiration, the dutiful devotion underlying all
the labors of the common day are the source of their progress. One panel
shows the higher toils of the mind, as in the arts and statesmanship. In
the center of this stands the inventor or leader of thought with the
eagle of aspiration above him. Another shows the motives of love and
pain and prayer and the central power of labor as movers of the world.
Still another, which is shown here, expresses the humbler toils of
mankind; even they, it says, progress upward through the thinker who
pauses in their midst to dream. The other panel here pictured represents
the triumph of man's endeavors, and the successes that spur to greater
achievements.
Primitive Ages
Altar Tower, Court of Ages
Public-domain text, read in full here on John Shaqi.
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