Sculpture -- United States -- History; Sculpture, American
Our introductory chapter noted with some emphasis the fact that through
Jefferson’s hands the realism of France and the idealism of Italy came
to the aid of our new-born plastic art. Houdon happened to be a greater
sculptor than Canova; it was our good fortune that we had Houdon at
all. And Jefferson drew the curtain for a steadily unfolding act in
the drama. Since his day, France and Italy have always been our chief
allies in our sculpture. Because of this, and because of the Roman
origin of most of the British culture our early settlers brought with
them, bred in the bone, it follows that the main current of American
sculpture, in thought, in feeling, and even in workmanship, has been
fed from the boundless streams of Mediterranean civilization. Now and
again, a Celtic influence, a German influence, a Scandinavian influence
has made itself felt, for better or for worse.
Each new influence as it comes we shall prize for what it is, after
the gloss or shock of novelty is worn off. Each may have an importance
we can but guess at. Saint-Gaudens was deeply conscious that he had
received his legacy of artistic sensitiveness quite as much from his
Irish mother as from his French father, born in Southern France not far
from those sculptured mountains on which many a French poet and artist
opened infant eyes. Perhaps Celtic glamor was all that made his vision
of man somewhat different from that of many of his comrades at the
_petite école_,--just different enough to give his later work a chance
at immortality, while the images they shaped had to go back dumb to the
clay-pit again. It is a great gift, the Celtic eye, though making small
boast of seeing things steadily and seeing them whole; ah, nothing so
prosaic as that! Celtic melancholy and Celtic mirth raise up a kind
of shimmering rainbow-dust through which an image is seen in glorious
parts; and Celtic exasperation loves stir more than steadiness. But the
plodders need the seers; and ever since the time of Crawford and his
Past and Present of the Republic, our sculpture has been graced and
enlivened by many a Mac and O; never more so than to-day. The Wren
epitaph fits them even during their lifetime:--_Circumspice._
Public-domain text, read in full here on John Shaqi.
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