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I
• •
• «
• • ••
• O • •
• • •
• #
• 1
SCULPTURE OF
THE EXPOSITION PALACES
AND COURTS
DESCRIPTIVE NOTES ON
THE ART OF THE STATUARY AT THE
PANAMA-PACIFIC INTERNATIONAL
EXPOSITION ' SAN FRANCISCO
BY JULIET TAMES
SAN FRANCISCO
H ' S ' CROCKER COMPANY
PUBLISHERS
Copyright, 1915
H. S. Crocker Company
San Francisco
• • • • • •*•••••
To A. Stirling Calder
who has so ably managed the execution
of the sculpture, and to the vast body of
'sculptors and their workmen who have
given the world such inspiration with
their splendid work, this book
is dedicated
314005
NB
3T3
'*<?
FOREWORD
hat accents itself in the
mind of the layman who
makes even a cursory
study of the sculptors and
their works at the Pana'
ma- Pacific International
Exposition is the fine, in'
spuing sincerity and uplift
that each man brings to his work. One cannot
be a great sculptor otherwise.
The sculptor's work calls for steadfastness of
purpose through long years of study, acute obser'
vation, the highest standards, fine intellectual abil-
ity and above all a decided universalism -other'
wise the world soon passes him by.
It is astonishing to see brought together the
work of so many really great sculptors. America
has a very large number of talented men express'
ing themselves on the plastic side-and a few
geniuses.
The Exposition of 1915 has given the world
the opportunity of seeing the purposeful heights
to which these men have climbed.
We have today real American sculpture- work
that savors of American soil-a splendid national
M
FOREWORD
Never before have so many remarkable works
been brought together; and American sculpture is
only in its infancy-born, one might say, after the
Centennial Exposition of 1876.
The wholesome part of it all is that men and
women are working independently in their ex*
pressions. We do not see that effect here of one
man trying to fit himself to another man's clothing.
The work is all distinctly individual. This individ**
ualism for any art is a hopeful outlook.
The sculpture has vitalized the whole marvel'
ous Exposition. It is not an accessory, as has been
the sculpture of previous Expositions, but it goes
hand in hand with the architecture, poignantly ex'
isting for its own sake and adding greatly to the
decorative architectural effects. In many cases the
architecture is only the background or often only
a pedestal for the figure or group, pregnant with
spirit and meaning.
Those who have the city's growth at heart
should see to it that these men of brain and skill
and inspiration are employed to help beautify the
commercial centers, the parks, the boulevards of
our cities.
We need the fine lessons of beauty and uplift
around us.
We beautify our houses and spend very little
[VI]
FOREWORD
time in them. Why not beautify our outside world
where we spend the bulk of our time?
We, a pleasurclo ving people, are devoting more
time every year to outside life. Would it not be a
thorough joy to the most prosaic of us to have our
cities beautified with inspiring sculpture?
We do a great deal in the line of horticultu-
ral beautifying-we could do far more-but how
little we have done with one of the most mean-
ingful and stimulating of the arts.
Let us see to it, in San Francisco at least, that
a few of these works are made permanent.
Take as an example James Earle Fraser's "End
of the Trail" Imagine the effect of that fine work
silhouetted against the sky out near Fort Point,
on a western headland, with the animal's head to-
ward the sea, so that it would be evident to the on-
looker that the Indian had reached the very end
of the trail. It would play a wonderful part in the
beauty of the landscape.
Or take Edith Woodman Burroughs' "Youth."
What a delight a permanent reproduction of that
fountain would be if placed against the side of one
of the green hills out at Golden Gate Park-say
near the Children's Playground-with a pool at its
base. It is only by concerted action that we will
ever get these works among us. Who is going to
take the lead?
[vn]
THE CONTENTS
Introduction v
The Fountain of Energy 3
The Mother of Tomorrow 6
The Nations of the Occident ...... 8
The Nations of the Orient 10
The Alaskan 12
The Lama 14
The Genius of Creation 16
The Rising Sun 18
Descending Night 20
Winter 22
The Portals of El Dorado 24
Panel of the Fountain of El Dorado .... 26
Youth 28
The American Pioneer 30
Cortes 32
The End of the Trail 34
Panel from the Column of Progress 36
The Feast of the Sacrifice 38
The Joy of Living 40
The Man with the Pick 42
The Kneeling Figure 44
The Pegasus Panel 46
Primitive Man 48
Thought 50
Victory 52
The Priestess of Culture 54
The Adventurous Bowman 56
Pan 58
Air 60
The Signs of the Zodiac 62
THE CONTENTS
The Fountain of Ceres 64
The Survival of the Fittest 66
Earth 68
Wildflower 70
Biographies of Sculptors 75
Sculpture Around the Fine Arts Lagoon . 93
w
THE ILLUSTRATIONS
The Fountain of Energy Frontispiece
A. Stilling Calder, Sculptor
The Mother of Tomorrow 7
A. Stirling Calder, Sculptor
The Nations of the Occident ...... 9
A. Stirling Calder, Frederick Roth, Leo T^ntelli, Sculptors
The Nations of the Orient 11
A. Stirling Calder, Frederick Roth, Leo f*ntrlB, Sculptors
The Alaskan 13
Frederick Roth, Sculptor
The Lama 15
Frederick Roth, Sculptor
The Genius of Creation 17
Daniel Chester French, Sculptor
The Rising Sun 19
Adolph Alexander Weinman, Sculptor
Descending Night 21
Adolph Alexander Weinman, Sculptor
Winter 23
Furio PfcdruTi, Sculptor
The Portals of El Dorado 25
Gertrude Vanderbilt Whitney, Sculptor
Panel of the Fountain of El Dorado .... 27
Gertrude Vanderbilt Whitney, Sculptor
Youth .29
Edith Woodman Burroughs, Sculptor
The American Pioneer 31
Solon Hamilton Borglum, Sculptor
Cortes 33
Charles Niehaus, Sculptor
The End of the Trail 35
James Earle Fraser, Sculptor
Panel from the Column of Progress 37
Isidore Konti, Sculptor
The Feast of the Sacrifice 39
Albert Jaeger, Sculptor
The Joy of Living 41
Paul Manship, Sculptor
The Man with the Pick 43
Ralph Stackpole, Sculptor
w
THE ILLUSTRATIONS
The Kneeling Figure 45
Ralph Stackpole, Sculptor
The Pegasus Panel 47
Bruno Louis Zimm, Sculptor
Primitive Man 49
Albert Weinert, Sculptor
Thought 51
Albert Weinert, Sculptor
Victory 53
Louis Ulrich, Sculptor
The Priestess of Culture 55
Herbert Adams, Sculptor
The Adventurous Bowman 57
Herman A. MacNeil, Sculptor
Pan 59
Sherry Fry, Sculptor
Air 61
Robert Ingersoll Aitken, Sculptor
The Signs of the Zodiac 63
Herman A- MacNeil, Sculptor
The Fountain of Ceres 65
Evelyn Beatrice Longman, Sculptor
The Survival of the Fittest 67
Robert Ingersoll Aitken, Sculptor
Earth 69
Robert Ingersoll Aitken, Sculptor
Wildflower 71
Edward Berge, Sculptor
M
SCULPTURE OF
THE EXPOSITION PALACES
AND COURTS
««
The influence of sculpture is far-
reaching. The mind that loves this
art and understands its language
will more and more insist on a cer'
tain order and decorum in visual
life. It opens an avenue for the
expression of aesthetic enjoyment
somewhere between poetry and
music and akin to drama.
-Arthur Hoeber
■■
mmmmmmmmmmm—mmmm
* 9 • • • •>
THE FOUNTAIN OF ENT T - <Ti : ' v
A. Stirling Calder, Sculpto:
[Sec Frontispiece]
The Fountain of Energy is a mcr mental
aquatic composit expressing in exuber'
ant allegory the a\ph of Energy, the
Lord of the Isthmian Vay. * It is the cen^
tral sculptural feature of the South Garden,
occupying the great quatrefoil pool in front
of the tower. * The theme is Energy, the
Conqueror-the Over Lord-the Master;
Energy, mental and physical; Energy-the
Will, the indomitable power that achieved
the Waterway between the Oceans at Pan*
ama. The Earth Sphere, supported by an un*
dulating frieze of mer-men and women, is
his pedestal. * Advancing from it in the wa-
ter at the four relatively respective points of
the compass, North, South, East and West,
are groups representing the Atlantic and
the Pacific Oceans and the North and
the South Seas; groups richly imaginative,
expressing types of Oriental, Occidental,
Southern and Northern land and sea life. /
The interrupted outer circle of water mo
[3]
m -
■w
• * • • •
• •' • • •
» . w » ■»
. : • \ •
* mi represent Nereids driving spouting fish./
Vertical zones of writhing figures ascend
the sphere at the base of the Victor.
Across the upper portions of the sphere,
and modeled as parts of the Earth, stretch
titanic zoomorphs, representing the Hemi'
spheres, East and West. * The spirit of the
Eastern Hemisphere is conceived as feline
and characterized as a human tiger cat. *
The spirit of the Western Hemisphere is
conceived as taurine and characterized as
a human bull. / The base of the Eques*
trian is surrounded by a frieze of architect
turalized fish and the rearing sea horses
that furnish the principal upper motif for
the play of water. / Energy himself is pre*
sented as a nude male, typically American,
standing in his stirrups astride a snorting
, harger-an exultant super-horse needing no
em-commanding with grandly elemental
gesture of extended arms, the passage of
the Canal. * Growing from his shoulders,
winged figures of Fame and Valor with
trumpet, sword and laurel, forming a crest
W
above his controlling head, acclaim his
triumph. ' The Fountain embodies the
mood of joyous, exultant power and exactly
expresses the spirit of the Exposition. * Its
unique decorative character has been aptly
described as heraldic, "The Power of
America rising from the Sea."
A. Stirling Calder
\
M
THE MOTHER OF TOMORROW
A. Stirling Calder, Sculptor
With upturned face, with steady onward
gaze, the stalwart Mother of Tomorrow
moves ahead. / Hers is the firm, determined
purpose, the will to do-to accomplish that
for which she has started. * She marches
ahead of the types of the Occident * It
has taken all these types striving with com'
mon purpose to produce the future, there-
fore they form the Mother of Tomorrow,
the matrix from which the future genera'
tions are to come. * Mr. Calder's high, splen'
did ideals are directly mirrored in this one
figure. It is not hard to read the man
in his handiwork.
[6]
HPiVHHMHaM«MH«aV
• - • * •
I • t ' * • •
I » • * * A
Tm -NATIONS OF THE OCCIDENT
A. Stirling Calder, Frederick Roth,
Leo Lentelli, Sculptors
Into the great Court of the Universe, from
the top of the Arch of the Occident, march
the types of men who have made the
Western civilization. From left to right-
the French'Canadian, the Alaskan, the Ger'
man, the Latm'American, the Italian, the
Anglo-American, the Squaw, the American
Indian. In the center of this well-balanced
pyramidal group, surmounted by Enterprise
and drawn by sturdy oxen, comes the old
prairie schooner. / To right and left atop
are seen the Heroes of Tomorrow-one a
white boy, the other a negro type. In
front marches the splendid Mother
of Tomorrow.
[8]
. ..;'.. .;.tfik Rations of the orient
•". : ••* - *' • ; * - * ..: •"'•A -Stirling Caldcr, Frederick Roth,
Leo Lentelli, Sculptors
Atop the Arch of the Orient is the
superb tableau representing the types of
men that form the Orientals. From left to
right-the Arab Sheik, the Negro Servitor,
the Egyptian Warrior, the Arab Falconer,
the Indian Prince and Spirit of the East,
the Lama,, the Mohammedan Warrior, the
Negro Servitor, the Mongolian Warrior.
On they come to join the Nations of the
West in the great Court of the Universe.
This group is as fine as any group ever
seen at an exposition. It rises in its imr
pressive pyramidal height to a climax in
the Spirit of the East-a fitting pivot on
which to turn the types.
[10]
* • » * .
. THE ALASKAN
Frederick Roth, Sculptor
Frederick Roth has fashioned one of the
most expressive figures of the Exposition
sculpture, but so far above the eye is she
and so overshadowed by her companions,
that we do not see her in her true light. <
It is the Alaskan Indian of the Nations of
the Occident. * She is moving on with her
totem poles and blankets. You feel her tug
and stL, for her load is growing hea^S
with each step, and she has yet a long way
to go. / The modeling of the figure, the
foot, the rigid arm and hand, all tell of
sustained effort that is truly life-like
in expression.
[12]
« •
!•.:••
• V «
-: THE LAMA
Frederick Roth, Sculptor
The priest of Thibet, the Lama, passes on
his onward march before you. * You do
not wonder what race claims him. He is
of Mongolian blood. * He stolidly passes
by, looking neither to the right nor to the
left. He is used to being obeyed. His rod of
authority tells you that what he says is
law. . Indifference and arrogance are on
his face. His very posture, the very way
in which his robe hangs from his shoulders,
the position of his nerveless fingers that
hold the rod, speak of centuries of indif-
ference to everything except what
he thinks.
[14]
• » • ,
. . ...,«-*, • • • * • •
; ?H£ GENIUS OF CREATION
.Daniel Chester French, Sculptor
The Spirit of Creation is a bisexual being,
and yet you feel the spirit and not the
flesh. * Its idealism is of the highest order,
being largely produced by the hood drawn
far over the face, throwing such deep
shadow that personality is lost sight of
and only creative force is left. * High on a
mighty boulder it sits with arms raised. '
The word has just been spoken and man
and woman have come forth- their feet on
the serpent, the symbol of wisdom and
eternity. * At the rear of the group their
hands meet as if in mutual dependence,
while above appear the Alpha and Omega-
"I am the beginning and the end."
[16]
p • •» • •
: THE RISING SUN
Adolph Alexander Weinman, Sculptor
This fresh, strong young Sun is about to
start on his journey-dawn is soon to break
upon the world. * With muscles stretched,
the wind blowing through his hair, the
heavenly joy of the first move expressed
upon his face, the vigor of young life
pulsating through his body, he will start
the chest forward and move those out'
stretched wings. ' Let us preserve this glo-
rious figure for our western city. It would
so admirably suggest the new light that
has been shed upon San Francisco by the
Exposition of nineteen hundred and fifteen,
as well as the new light occasioned by
the opening of the Panama CanaL
[18]
• « • » -
DESCENDING NIGHT
• ' * ' '.rtdolph Alexander Weinman, Sculptor
The figure on the page opposite is a beau'
tiful lyric poem. She might be called "A
Hymn to the Night" * Every line of her
figure is musical, every move suggested,
rhythmical. Seen at night, she croons you
a slumber song. * How subtly Mr. Wein'
man has told you that she comes to fold
the world within her wings-to create thru
her desire a "still and pulseless world."*
The muscles are all lax-the head is droops
ing, the arms are closing in around the
face, the wings are folding, the knees are
bending-and she too will soon sink to
slumber with the world in her arms.
What a fine contrast of feeling between
the tense young "Sun" and relaxed
"Descending Night."
[20]
» • * • • • •
• '\ .
WINTER
.' Furio Piccirilli, Sculptor
Naked Winter stands before you. It is the
period of the year when the leaves are off
the trees and the bark is splitting. * After
the activities of autumn man is resting.
The fruits have been gathered-the golden
apples and the purple grapes-so man's
labors have ceased. * It is the period of con'
ception. The sower has just cast forth the
seed. Mother Earth will nurture the little
seed until the cold winter has passed and
the warm sunshine comes again to give
each clod its "stir of might."
[22]
w • • •
• v Tfite'?QRTALS OF EL DORADO
\ - ^ertrude Vanderbilt Whitney, Sculptor
There was once among the South Amer'
ican tribes a belief that in a certain far-off
country lived a king called El Dorado, the
Gilded One. * He ruled over a region
where gold and precious stones were found
in abundance, t The story influenced a vast
number of adventurers who led expedi'
tions to seek the land of golden treasure;
but notwithstanding the fact that they
searched most carefully and for long peri'
ods, they all failed to find it. * The idea of
the unattainable gave the suggestion to
Mrs. Whitney for her fountain. ' The gold
of El Dorado was used as a symbol of all
material advantages which we so strongly
desire- wealth, power, feme, et cetera.
M
• • • •
* • - •
* * *:
... PANEL OF THE
: :..ljbUNTAIN OF EL DORADO
Gertrude Vanderbilt Whitney, Sculptor
In the panel are seen men and women in
their mad race for the unattainable. * Many
have had a glimpse of the Gilded One, and
are rushing on to pass the mysterious gate
behind which the desires of life await
them. * Some faint by the roadside or stop
in their race for the goal to contend or to
loiter by the way, but those nearest the
El Dorado increase their speed. * Beside the
gateway that has only just allowed the
Gilded One to pass thru are two mortals
who have come close to the land of their
desires, but only to find the door shut and
slaves beside it barring the way. * Their
strength is expended, their courage gone
in the long race for material things.
[26]
■ V •
••• • • • • *
; • • * • * %• *
• » • • • • -
• " ... YOUTH
.••'. : ;•" ; .•': • .: ": • ..: Biili, Woodman Burroughs, Sculptor
A little figure of innocence and purity in
all her virgin loveliness stands before you-
the incarnation of all that is fresh and
wholesome. * She is only a slip of a girl
and yet the dignity of her carriage beto'
kens hopeful days for her womanhood
later on. t Her form is exquisitely moulded.
Those little bony shoulders will all too
soon fill out and she will bloom into worn'
anhood. * The chief charm of this little
lady is her simplicity. Mrs. Burroughs uses
such beauty of line, such sweet language
to tell her story.
[28]
• ' THE AMERICAN PIONEER
; *.•" *: : . .: * \SoJrtn Hamilton Borglum, Sculptor
Erect, dignified, reflecting on the things that
have been, the American Pioneer appears
before us, reminding us that to him should
be given the glory for the great achieve
ments that have been made on the Amer*
ican Continent. < He it was who blazed
the trail that others might follow. * He en'
dured the hardships, carved the way across
the continent, and made it possible for us
of tmiay to advance thru his lead. * All
hail to the white-headed, noble old pioneer
who, with gun and axe, pushed his way
thru the wilderness; whose gaze was al'
ways upward and onward, and whose
courage was unfaltering!
[30]
Solao Hamilton Boigkm, Sculptor
a
•
CORTEZ
Charles Niehaus, Sculptor
One of the finest equestrians at the Exposi-
tion is Cortes by Charles Niehaus. ' As
we look upon the rider on his sumptuously
caparisoned horse we are convinced that
he is every inch a conqueror. / He is rep*
resented absolutely motionless-his feet in
the stirrups-and yet you feel that he is a
man of tremendous action. You also feel his
fine reserve, and yet how spirited he is!
This is that intrepid spirit that desired the
land of the Montezumas. After determined
invasions he conquered the country in the
early part of the sixteenth century.
[32]
• ♦
cc
$HE END OF THE TRAIL
m
By; James Earle Frascr, Sculptor
The trail is lost, the path is hid, and winds that blow from
out the ages sweep me on to that chill borderland where
Time's spent sands engulf lost peoples and lost trails."
-Marion Manville Pope.
One of the strongest works of the Expo*
sition in its intense pathos is this concept
tion of the end of the Indian race. * Over
the country the Indian has ridden for many
a weary day, following the long trail that
leads across a continent. * A blizzard is on.
He has peered to right and left, but alas!
the trail is gone and only despair is his. So
has it been with the Indian * His trail is
now lost and on the edge of the conti'
nent he finds himself almost annihilated.
[34]
• • * . • •
• t • • • •
• -»
PANEL FROM
j '■■ .'<ffiE CX)LUMN OF PROGRESS
»
By Isidore Konti, Sculptor
The four panels on the Column of Prog"
ress show the different mental conditions
of men on their onward march thru life. *
In the center of the panel stands the man
of inspiration-the eagle, bird of inspiration,
perched on his shoulder. He goes thru life
?rid> upturned race, dependtag upon his
God for strength. * Beside him on the right
is seen the warrior who wins his way by
sheer physical strength. ' On his left stands
the ascetic philosopher, who through con'
stant vigils "hath a lean and hungry look." t
To the extreme left felteringly steps the
man who fears the unknown future; his
wife and mother sustain him by spiritual
cheer. * The figures are in very high relief
so that they seem almost human as
you gase upon them.
[36]
• • » •
• * • •
f HE.EEAST OF THE SACRIFICE
. . i / -\ - , •* Albert Jaegers, Sculptor
In your imagination you see as of old the
harvest procession marching around the
fields ' It is led by the great bulls for the
sacrifice to the gods, that the harvest may
yield bounteously. * On either side of the
bulls are the youths and the maids carry"
ing flowered festoons. 'The long procession
passes on and halts before the altar where
the bull being sacrificed, the head with
its festoons is placed upon the side of the
altar ' A most decorative group is this Feast
of the Sacrifice-brute strength and the
graced fomtfthe^dn^asplendid
play of line that most satisfactorily
charms the eye.
[38]
Mi
• • »
• • • ->••!•* ,»•
: THE JOY OF LIVING
: ** * "* " Paul Manship, Sculptor
With perfect abandon come these maid'
ens into the Court of the Universe, cany
ing their festoons of wild roses. * They
bring to the great festival joy and love of
life-a telling addition to all that has been
expressed in the court. * They savor of
old Greek days, these maidens of archaic
hair and zigzag draperies. ' Paul Manship
loves the classic which brings with it
much of free expression, and he has adopted
the archaic style that recalls the figures
such as are seen on old Greek vases. No
one is more joyous among the sculptors
than this man. He has a rarely beautiful
gift from the gods.
[40]
THE JOY OF LIVING
• „
\ *
: TP MAN WITH THE PICK
• • "'"Ralph Stackpole, Sculptor
An ordinary workman with his pick-and
yet how impressed you are with his sin-
cerity. * In him is asserted the dignity, the
usefulness, the nobility of all labor, t He
helps to turn the wheels of trade, to fur-
ther the interests of the world. He works
patiently day by day, not^vithstanding the
fact that those above him reap the bene-
fits, f Mr. Stackpole has been most happy
in his expression. ' The broad treatment is
thoroughly suitable to just such work as
this. There are no accessories employed.
The work is absolutely direct.
I>]
• • " • -
* - • •• • •• • •..»•*•
. . THE KNEELING FIGURE
• ftalph Stackpole, Sculptor
With the love for all that is beautiful in
life, in what God has made and in what
man has fashioned, the grateful devotee
has mounted the steps that lead to the
altar at which she offers up her devotion.
She bows her head in humble reverence
to her God for all that He has given her
to enjoy-all that is good, pure, true, beau'
tiful, uplifting. * And we onlookers, too,
would join the moving throng that bend
the knees at the altar of beauty and truth.
Across the lagoon we gaze upon the great
stillness, and we with her murmur,
"Father, I thank Thee."
[44]
:?■;:-..■ ■■■[■
♦
. ' ttm PEGASUS PANEL
• ?•.•!»**••'• Bruno Louis Zimm
There are no reliefs more classically inspire
ing than are these superb reliefs by Bruno
Zimm. * The one on the opposite page is
of great beauty. ' The young artist has
caught the inspiration of his art-he has
bridled Pegasus. ' Beside him march the
Arts-literature, holding aloft her symbol,
the lamp; Sculpture extending in front of
her the statuette, a devotee admiring, and
Music leading the procession, stilling ever
the beasts-a veritable Orpheus. * Mr. Zimm
has been most successful in the fine work'
ing out of his subject in a classical way,
for the style of relief work accords well
in feeling with the superb classic
architecture it decorates.
[46]
•'•rf*^'..-
PRIMITIVE MAN
Albert Weinert, Sculptor
Long ages past I lived and gave no thought
of time or doing aught save going as my
fancy took me. * Ofttimes I took my bow
and arrow and hied me to the mighty for'
ests where herds of Nature's roaming kind
served as my food when I required it .
Again I followed to the sea where, casting
.taW net, I drew up myriads of the finny
tribe to satisfy my appetite. Oft drew I
up such numbers vast that having naught
to do but to amuse myself, I fed my extra
fish the friendly pelican that had become
companion in my walks along the shore, f
A simple man was I with not too many
thoughts and only few desires. My body
was my foremost daily thought, and little
cared I for aught else besides.
v fc
* « » - • «
[48]
• a •
-;;: : ,, % THOUGHT
■'" : "- : •"•■*•• Albert Weinert, Sculptor
The ages have passed on and I more
thoughtful have become, for mighty revo"
lutions have gone on within my frame. *
My mind, a once too puny thing, has year
by year grown stronger, until today I real"
ize that feeble is my flesh-a thing to be
abhorred, and mind does rule above all
else. / My very face which once was rude
and lacked that fire that strong intelligence
does give now has a steady purpose and
fine spirit writ upon it. * It is as if my flesh
of old had dropped and like a cast'ofF cloak
had fallen at my feet. * Then come those
days when tumult as of yore is waged
within me, and then I grasp my new-made
self and yearn to hold my old position
within the body walls. * Thought more
strong than flesh does wield its strength
and back I crouch beneath the feet to stay
till Thought is off his guard again.
[50]
: t . •• i • • *
■ • -•*•*»• »••
VICTORY
Louis Ulrich, Sculptor
Against the blue sky, with wings poised
and draperies blown back, appears a Vic-
tory from every gable point of the palaces
of the Exposition. * She is positively charm-
ing in her sweep forward * Poised fkr
above you, she holds thfe laurel wreath
ready for the victor. * Blessed Victories!
We rejoice that there are so many of you
for we have found so many victors. / Side-
view, against the clear blue sky, she sug-
gests the great victory of Samothrace. / Mr.
Ulrich, we feel sure that the Lady Samo-
thrace has exerted her subtle influence.
m
• •
•
: ; -vTCSB priestess of culture
''•"•* : :#:: '^"iicrbcrt Adams, Sculptor
There are few sculptors with greater refine*
ment or more cultured reserve than Her'
bert Adams. * He understands the selection
of the significant and in many ways seems
most fitting to represent the Priestess of
Culture. * This figure at the base of the
dome of the rotunda of the Fine Arts
Palace, dn the inside, is eight times re-
peated. * Simple, dignified, beautifully bal'
anced, with elegance expressed in every
line of her garment with its rich border
sparingly used, she holds in either arm an
overflowing cornucopia, the symbol of
what she is able to give you.
[54]
Herbert Ada™. Sculptor
THE ADVENTUROUS BOWMAN
Herman A. MacNeil, Sculptor
At the top of the Column of Progress
where the sea'wind blows thru his locks,
stands the Adventurous Bowman, the sym'
bol of achievement. / At the base of the
column are seen figures representing the
progress of men thru life. / We watch
them file past, but it is with this man of
splendid daring, of consummate achieve'
ment, that we are most concerned. * He
has striven and has reached the top. He
has only just pulled the chord of his bow,
and his arrow has sped on. * With confix
dent eye he looks to see it hit the mark. *
The laurel wreath and palm of victory
await his efforts.
• • _» »
• 4
[56]
PAN
Sherry Fry, Sculptor
You cannot look upon this little figure with'
out feeling that he is inimitably charming. *
Pan, a god of the woodland, the symbol
of the festive side of the Exposition, sits
among the shrubs in front of Festival Hall.*
He has selected a marble capital on which
to sit-quick reminder of those classic days
when he roamed the Greek glades. Over
the cold seat he has spread his fawn-skin.
He has just been moving his lips over the
pan-pipes, but a rustle among the leaves
has caused him ]to pause in his melody. < In
the grass he sees a lizard which is as intent
on Pan as Pan is on him. * Care-free Pan
with pointed ear and horned brow, we love
thee, for dost thou not give us all our
jollity and fun, the tonic for our
daily walks!
« • * • _•• i
» *
s
» 1 w - _ u . .
wV r k » * t«.l»w**"b
[58]
!:.:,..•::: :/. : AIR
•?.!••:• • *: ; . •_.
• • ■ • • * •_•
•».-*? ••••_•
• » • • •
«• »«•••> •
Robert Ingersoll Aitken, Sculptor
Robert Ingersoll Aitken has added to the
cosmical meaning of the Court of the Uni'
verse his f^TeLents-monumental, hori-
sontal compositions of pronounced decora'
tive effect. * Air is the one of finest poetic
feeling. She holds the star to her ear and
listens to the music of the spheres, t The
eagle, the symbol of the air, is used with
finely balanced effect. / On her back are fas*
tened wings, and man, puny man, is aiming,
by attaching wings to himself, to over-
come her-a subtle suggestion
of airships.
[60]
I
• «
"• « •
A: •••';:• ivTHE: SIGNS OF THE ZODIAC
Herman A. MacNeil, Sculptor
One of the lovliest gems of beauty in the
Court of the Universe is Herman A. Mao*
Neil's cameo frieze of gliding figures^ * In
the centre, with wings outstretched, is
Atlas, mythologically the first astronomer. *
Passing to left and right glide maidens, two
and two, carrying their symbols-for these
are the signs of the zodiac. * These maids
are the Hyades and Pleiades, the fourteen
daughters of Atlas. * It is as if the figures
of some rare old Greek vase had suddenly
distributed themselves along the top of the
great piers. * For absolute refinement, for
a certain old Greek spirit in the Court of
the Universe, these reliefs could not
be excelled.
[62]
: • • • • • •• ? • •
_ *
/; •' ? WK FOUNTAIN OF CERES
Evelyn Beatrice Longman, Sculptor
The architectural side of the Fountain of
Ceres, with its pleasing proportions, is most
satisfying to the eye. ' It was a happy
selection to place the Goddess of Agricul'
ture between the Food Products Palace
and the Palace of Agriculture. Ceres strikes
the keynote of this delightfully beautiful
court. ' With corn sceptre and cereal
wreath, Ceres is poised on the globe, the
winds of the Golden Gate blowing thru
her drapery. / Below on the die of the foun'
tain are graceful figures in relief suggesting
the decorations of a Greek vase. / Eight
joyous, happy creatures trip past you, some
with tambourines, others with pipes sound'
ing roundelays, or carrying festoons
of flowers.
[64]
THE FOUNTAIN OF CERES
« •
- • • • • •-•'••«
, • • • •• • •
A: iSMSURVJVAL OF THE FITTEST
Robert Ingersoll Aitken, Sculptor
This is the initial expression of martial
spirit, when the first combat is seen and
man by physical force seeks to override
the power of his fellows. ' Far back in the
childhood of history one finds, as often
to'day is the case, that woman is the mo*
tive for the fray. * Three combatants are
here-the one on the right separated from
the most powerful by the hand of her who
loves him. * The cause of the trouble stands
at the left, steadfastly watching to see which
of those that seek her is to be the victor. * A
glance tells you that he of powerful build in
the center of the panel is to hold sway.
He it is who is the most fitting survivor.
[66]
i
Hi
• • : ..-. .
• * • •
* « •
• • •
♦ * * n • m
: y\ {.: •• : . ."; /"•. •••"EARTH
Robert Ingersoll Aitken, Sculptor
A very remarkable figure, her head hang'
ing forward, lies stretched in slumber. It
is the sleeping Earth. ' From her come the
great trees whose ramifying roots extend
in all directions, r Man is seen wresting
from her stone and precious metals. * Won'
derfully has Robert Aitken worked out
the Mother Earth idea. She has brought
forth many times and yet is ever young. /
It is keenly interesting to look at "Earth"
and then at Michelangelo's "Night" to
see the source of inspiration.
[68]
:::\::V A?
Hi
s ; WILDFLOWER
Edward Berge, Sculptor
At sight of your form, I seem now to see * A
bright stretch of color across a broad lea, /
Where the wildflowers sway to and fro
in the breezy / Where the winds sing soft
lullabies up in the trees * Where all is as
fresh, free and wholesome as you, * Little
Wildflower, blooming, so sweet and so
true, r And I come from the flight of my
far-away dream t As I look and I listen, to
me it would seem * That I hear a small
voice in a most charming way . Say, "Good-
morrow! Goodmorrow! Take time while
you may, * Just step up yet closer; Til give
you a chance / To have something for
sweeter than just a bright glance.™
[70]
• • »
• • • •• ••: *•*
• • •
* • a
• • « r
APPENDIX
THE SCULPTORS
The planning, the placing, the naming of
all this noble sculpture has practically
been done by two men-the late Karl Bitter
of New York, a man of great executive
and technical ability as well as of immense
inspiration, and A. Stirling Calder, on
whom the honor for the great bulk of the
work rests. / Besides acting as personal
overseer for the execution of the sculpture
of the Palaces and Courts of the Expose
tion, Mr. Calder has designed the Nations
of the Orient, The Nations of the Occi-
dent, The Fountain of Energy, The Stars,
Column of Progress and its sculpture, and
The Oriental Flower Girl. / Since the
sculpture is one of the strongest factors of
this Exposition, we should extend to Mr.
Calder our heart-felt appreciation of all
that he has done to help make this Expo-
sition such a wonderful, artistic success.
[75]
THE SCULPTORS
Robert Ingersoix Attken
Robert Ingersoll Aitken was born in San Fran-
cisco in 1878. He was a pupil of Arthur F. Ma-
thews at the Mark Hopkins Institute of Art and
later of Douglass Tilden, the well-known Califor-
nia sculptor. He has done a great deal of very
strong, compelling work. The examples of his
sculpture seen at the Panama-Pacific International
Exposition are of pronounced virility and of fine
composition. He is a man who excels in tech-
nique. He has done in San Francisco the Victory
for the Dewey Monument in Union Square, the
McKinley Monument, the Bret Harte Monw
ment and the Hall-McAllister Monument. In the
Metropolitan Museum of New York is 'The
Flame." At the Fine Arts Palace* are a number of
works from his chisel-The Gates of Silence, the
Gates' memorial, being by far the finest.
Herbert Adams
Herbert Adams was born in Vermont in 1858.
He has had many advantages, not the least of
which were the five years spent in Paris. While
there he did the beautiful bust of Adelaide Pond,
who afterwards became his wife. In 1890 he re-
turned to America, becoming instructor in the
Art School of Pratt Institute, Brooklyn. He has
[76]
THE SCULPTORS
done a number of works for the Congressional
Library, the Vanderbilt bronze doors of the St.
Bartholomew Church of New York, the tympan
of the Madonna and Child in the same church, a
statue of William EUery Charming and many oth-
ers. His beautiful busts of women are said to be
unsurpassed even in France.
Edward Berge
Edward Berge was born at Baltimore, Mary-
land, in 1874. He was admitted quite early in life
to the Maryland Institute of Art, and the Rhine-
hart School of Sculpture of Baltimore, following
this instruction by the usual finishing-offat Paris.
He had the good fortune while in Paris to study
under the great Rodin. He won bronze medals
at both the Pan-American Exposition of 1901 and
the St. Louis Exposition of 1904. His many very
interesting fountain figures seen at the Panama-
Pacific International Exposition have won de-
served praise from the many who have seen them.
Solon Borglum
Solon Borglum was born in 1868 at Ogden,
Utah. The greater part of his early life was
spent on the plains of Nebraska, lassoing wild
horses and photographing at the same time every
[77]
THE SCULPTORS
detail of this strange life upon his brain. He
spent a short time in California, where he began
his life as an artist Realizing his limitations, he
went to the Cincinnati Art School, where he stud-
ied some time under Rebisso. It was while here
that he spent all of his spare time on the anat-
omy of the horse. The time soon arrived for a
sojourn in Paris. His "Little Horse in the Wind"
excited pronounced attention at the Salon that
first year abroad and honors were bestowed upon
him as long as he remained in Paris. He has given
the Indian the greatest attention, and is one of the
best sculptors of the red man in the United States.
He has but one group in the Fine Arts Palace-
"Washington."
Edith Woodman Burroughs
One of the chief women sculptors of the United
States is Edith Woodman Burroughs, born at
Riverdale'on'the'Hudson, in 1871. She was a
pupil at the New York Art Students' League under
Augustus Saint'Gaudens, later studying in Paris
with Injalbert and Merson. In 1893 she was mar*
ried to Bryson Burroughs, a New York artist. She
has made a specialty of fountain sculpture. No one
who has ever seen her Fountain of Youth at the
Panama-Pacific International Exposition can for"
[78]
THE SCULPTORS
get it. It will always be a source of regret that the
appropriation for the Panama-Pacific International
Exposition sculpture was reduced, thus preventing
the public from seeing the speaking, simple groups
of "Arabian Nights Entertainments." Mrs. Bur'
roughs is represented at the Metropolitan Muse
urn of New York by "John La Farge," a remarka'
bly interesting portrait head, full of character. She
has the power of speaking her language in a few
words-but just the right ones.
A Stirling Caldbr
The man at the wheel in the management of
all the works of sculpture at the Panama-Pacific
International Exposition has been A. Stirling CaL-
der. He was born at Philadelphia in 1870. Having
studied four years at the Pennsylvania Academy
of Fine Arts, he had the advantage of two years
in Paris. For some time he has been connected
with the Philadelphia School of Industrial Arts.
He is a man of splendid imagination, of dignified
and noble purpose, being one of the sincere men
of his art who keeps the standards where they
should be. One of his early works, "The Man
Cub," in the Pennsylvania Academy of Fine Arts,
is most original and interesting in its treatment. It
stands a most unique figure in the line of sculpture.
[79]
THE SCULPTORS
It is said that his "Martha W. Baldwin Memorial' 9
is one of the best designs for a figure and pedestal
yet produced in America. Mr. Calder lived some
time in southern California and when there did
the sculptured work on the portico of Throop
Polytechnic Institute of Pasadena. This work was
done by means of enormous castings made in fine
concrete. Mr. Calder originated this method and
it will probably be the means of revolutionizing
the relief work done on many of the public build'
ings in the future. Mr. Calder's rare intellectual
fiber, added to his accurate knowledge of his sub-
jects, with his exalted outlook, has placed him
among the foremost American sculptors.
James Eabjle Fraser
James Earle Fraser was born at Winona, Min-
nesota, in 1876. His father was a railroad con'
structor, so that the lad had a good chance in
traveling around the country to study the free
types and life of the West. Being very impress
sionable, he imbibed a great deal which he has
turned to good account in his chosen work At
fourteen he started to carve figures from the chalk
that conventionality required to be used on black'
board problems. At eighteen he entered the
Chicago Art Institute, where he stayed for but
[80]
THE SCULPTORS
three months. He soon went to Paris, going first
to the Beaux Arts and later to the Colorossi and
Julian Academies. He won many honors during
his three years stay in Paris. In 1898 he won
the prize offered by the American Art Associa-
tion in Paris for the best work in sculpture.
Augustus Saint-Gaudens was on the jury and im-
mediately became interested in the talented boy
who later on held the place of chief assistant in
the Saint-Gaudens studio. He became instructor
of the Art Students' League of New York in
1906, holding the position until 191 1. He it was
who made the new five"cent piece design-the
Indian head on one side, the bison on the other.
He is particularly interested in personalities, hav-
ing done a number of very clever portrait busts.
It is enough to look at the portrait bust of Mrs.
Harry Payne Whitney's boy to realize what he
is able to do in the line of portraiture. He has
produced nothing finer in that line. He is a mas-
ter of character records.
Daniel Chester French
Since the passing of Augustus Saint-Gaudens,
Daniel Chester French has been regarded by
many as standing at the head of American sculp-
ture. He was born in Exeter, New Hampshire, in
[81]
THE SCULPTORS
1850. After having one year at the Massachusetts
Institute of Technology, he studied with Doctor
Rimmer of Boston, the first teacher of art anat-
omy in the United States. Later he studied with
Thomas Ball of Florence, Italy, and a short time
in Paris, He has been practically his own in'
structor. His work is of the noblest type. It is
anatomically correct, of a high intellectual order,
perfect technique and of fine imagery. His first
important work was "The Minute Man" of Con*
cord, Massachusetts. Among his many works are
"Death and the Sculptor," "The Alice Freeman
Palmer Memorial," the head of "Emerson" (which
caused Emerson to say,"This is the head I shave"),
"The Milmore Memorial," "The Alma Mater of
Columbia College," and finest of all, the wonder*
ful "Mourning Victory" in Sleepy Hollow Ceme*
tery, Concord. His memorials are of high spirit-'
ual import
Sherry E. Fry
Sherry E. Fry was born in Iowa in 1879. He
has been most fortunate in having the best in-
struction, having studied at the Chicago Art
Institute, the Julian Academy and the Beaux Arts
of Paris, a year in Florence, and later with Mc
Monnies, Barrias, Verlet and Lorado Taft. He
[82]
THE SCULPTORS
has traveled extensively, so has had the oppor'
tunity of seeing the best that the world holds for
the artist. He won the National Roman Prise in
1908 and held it for three years. He has been a
careful student of the Indians. His work at the
Panama-Pacific International Exposition is dis-
tinctly graceful and decorative.
Albert Jaegers
Albert Jaegers, a man who has taught himself
his art, having fine powers of observation and
much invention, was born at Elberfeld, Germany,
in 1868. He has been an indefatigable worker,
holding his art above all else. Solving technical
problems by himself, studying the world around
him with an intense love in all his undertakings,
Albert Jaegers has come to be a power among
his fellows. He has exhibited at several Exposi'
tions, has done considerable municipal work- the
finest figure probably being his "Baron Steuben,"
of Washington-and many fine portraits. His
"Uncle Joe Cannon" in the Fine Arts Palace,
shows his power as a portraitist. His work
has brought him decorations from the German
Emperor.
[83]
THE SCULPTORS
Isidore Konti
A foreign sculptor living in New York, Isi*
dore Konti has steadily risen in the excellence of
his work until to-day he stands among the fore-
most American sculptors. He was born at Vienna,
in 1862. His father's capture by the Viennese in
the war against Hungary, where the father lived,
and his subsequent compulsory connection with
the Viennese army made the son, Isidore, long
for the freedom of America. He came to Amer-
ica as a boy, living in Chicago. He exhibited at
the Chicago Exposition in i893,and later attracted
much favorable comment at the Pan-American
Exposition at Buffalo. His works in the Fine
Arts Palace are of a very high order and are
exquisitely modeled. The more sober life of the
individual, with appreciation of sentiment and
longing, are evident in his works.
Leo Lentelli
Leo Lentelli was born in Bologna, Italy, in
1879. He came to the United States in 1903,
where he has been permanently located in New
York His most notable work is seen in the
Cathedral of Saint John the Divine, New York,
where he has done "The Savior with Sixteen
Angels" for the reredos. He has recently com'
THE SCULPTORS
pleted a group which has been placed over the
entrance to the new Branch Public Library of
San Francisco. He is still another of the sculp"
tors who is self-taught.
Evelyn Beatrice Longman
Evelyn Beatrice Longman has risen constantly
in her work since she took her first step in art at
the Chicago Art Institute. She was born in
Ohio of English parents, being one of six chil'
dren. At fourteen she began to earn her own
living in Chicago, studying at night at the Chi-
cago Institute of Art She saved her money,
using it on her education at Olivet College. She
returned to Chicago and studied drawing and
anatomy. So clever was she that at the end of
the first year she began to teach those subjects
at the Institute. Later, she went to New York
where she studied with Herman MacNeil and
Daniel Chester French. She really made her
debut in sculpture at the St. Louis Exposition,
where she showed u Victory," a male figure which
was so excellent in invention and technique that
it was given a place of honor on the top of Fes'
tival HalL In 1907 John Quincy Adams Ward
offered a prize for the best portrait bust. This
competition was open to all American sculptors.
[85]
THE SCULPTORS
Charles Grafly won in the competition, but
Miss Longman won the second place with her
" Aenigma ." Besides some excellent portraits, she
has done two remarkable bronze gates at the en-
trance to the chapel of the United States Naval
Academy at Annapolis, and much fine figure work.
Daniel Chester French says "She is the last word
in ornament."
Herman A. MacNeil
Herman A. MacNeil was born in 1886, at
Chelsea, Massachusetts. After graduating from
the State Normal School of Massachusetts, he
went to Paris, where he studied under Chapu of
the Julian Academy, and two years under Fal'
guiere of the Ecole des Beaux Arts. He came
home and soon answered a call to Cornell, where
he remained three years. Then three years were
spent in teaching art at the Chicago Art Institute.
While there, he taught Miss Carol Brooks of
Chicago, whom he married in 1895. She is a
very clever sculptor herself. Her "Listening to
the Fairies," "The First Wave," "The First Les-
son," "Betty," in the Fine Arst Palace of the
Exposition, readily show how very charming her
work is. Mr. and Mrs. MacNeil studied together in
Rome for four years and on their return to Amer*
[86]
THE SCULPTORS
ica established themselves in New York, where
the MacNeil studio is. He is the teacher of mod-
eling of the National School of Design, New
York He has made a specialty of Indian sub-
jects, "The Sun Vow," "The Coming of the
White Man," and the "Moqui Runner" being
some of his best pieces. To him the Indians are
as fine as Greek warriors and most worthy of
careful study. Whatever he does in sculpture is
in its very essence national. He is extremely
refined, a superb modeler and one whose every
piece of work is strong and of the first rank.
Paul Manship
Standing quite apart from the other sculptors
in his special joyous line of work is Paul Man-
ship, a young man from St. Paul, Minnesota, born
in 1885. He obtained the Prix de Rome from the
American Academy, which prize allowed him to
study in Rome and Greece for three years, from
1909 to 1912. His study in Greece gave a most
interesting, individual touch to his work, for he
united to his fresh, vigorous western style the
classic precision of the Greek. He has a certain
archaistic mannerism in his work recalling the
Aeginetan marbles, which individuality puts a
Manship stamp upon his work, striking a dis'
[87]
THE SCULPTORS
tinctly personal note. His statuettes are most
charming and natural-little bursts of spirit and
intense feeling. His work is always interesting-
the kind you cannot pass by. He fills a niche all
his own and is a most promising, gifted young
sculptor. His "Spring Awakening" and "Playful"
ness"in the Twachtman Room of the Fine Arts
Palace are delightfully exhilarating little figures.
Charles Niehaus
Charles Niehaus' great talent lies in the lines
of monumental sculpture. He was born in Cin-
cinnati, in 1855. He was a pupil of the McMicken
School of Art of that city, later attending the
Royal Academy of Munich, Germany, where he
took the first medal ever won by an American.
He has won gold medals at the Pan-American
Exposition, the Charleston Exposition and also at
the Exposition of St. Louis. His work is of the ex-
tremely dignified order, and shows great simplicity
of line. It is always the spirit of the work that
claims you in all that he undertakes. He has done
nothing finer than his "Garfield" at Cincinnati.
His Astor Memorial Doors of Trinity Church,
New York, his "Doctor Hahnemann" of Wash'
ington, D. C, and his "Driller," symbolic of the
energy of labor, are among his best works.
[88]
THE SCULPTORS
FURIO PlCCIRILLI
living in New York in truly Florentine style
is the Piccirilli family-a household of five fami'
lies. It is said that nowhere in America is the
old Florentine style of the fourteenth century
way of living so well exemplified. The men of
the family were marble cutters, but within the
last few years Attilio, an elder brother, has been
expressing himself in sculpture of a pronounced
order. Furio is a young member who is coming
to the front thru the very lovely representations
of his work at the Panama-Pacific International
Exposition. He has given a fine human touch to
his work It stands quite apart in its Italian feel-
ing from the robust American sculpture.
Frederick Roth
Frederick Roth is one of the greatest animal
sculptors of the United States and is studying
abroad year by year. He was born in Brooklyn,
New York, in 1872, and was fortunate in being
sent to Berlin and Vienna to pursue his studies
when he was very young. He attracted very
favorable attention at the Pan-American Exposi-
tion by his great originality and technical skill
He is extremely fond of modeling small animals,
many of which can be seen in the Fine Arts Pal-
[89]
THE SCULPTORS
ace of the Exposition. "The Equestrienne" is as
clever and spirited a small work as he has done.
Ralph Stackpole
Ralph Stackpole, one of the younger sculptors,
was born near Grants Pass, Oregon, in 1885. At
the age of sixteen he began his art study at the
San Francisco School of Design, remaining here
for the short period of four months. He later
studied with G. F. P. Piazsoni and Arthur Put'
nam, and considers that from these men he
received his best instruction. In 1906 he went to
Paris, where he continued his studies at the Ecole
des Beaux Arts and Atelier Merces, where he
remained two years. He exhibited his work at
the Salon in 1907. You meet the man face to
face in his work on the Varied Industries Palace.
He is sincere, broad, direct. As to his reverence
and refined feeling, you need but to look at his
"Kneeling Figure" at the altar in front of the
Fine Arts Palace to see that he possesses these
qualities in abundance.
Louis Ulrich
The world is probably receiving its first intro"
duction to Louis Ulrich, a pupil of the joint
school of the National Sculpture Society and
M
THE SCULPTORS
the Society of Beaux Arts Architects, He has
achieved a "crowning success" in his dignified fig-
ure of sweeping lines.
Albert Wednert
Albert Weinert was born at Leipzig, Germany,
in 1863. He studied at the Art Academy at
Leipzig under Melchior zur Strapen, later coming
to America, where he is now located in New
York. He has done a great deal of municipal
work of a high order, among which can be men'
tioned sculpture work on the interior of the Con-
gressional Library at Washington, a monument
to President McKinley for Toledo, Ohio, a
"Lord Baltimore'' for Maryland and some very
excellent statues on the facade of the Masonic
Building, San Francisco. His work in the Court
of the Ages has added greatly to the interest of
that Court and is forceful, virile work.
Adolph Alexander Weinman
Adolph Alexander Weinman, one of the poets
of the sculpture world, was born in Karlsruhe,
Germany, in 1870. When but a boy of ten, he
came to America with his parents. In his youth
he began his student life in art with the great
Augustus Saint'Gaudens, attending also Cooper
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THE SCULPTORS
Union, New York Each year has seen him move
successfully ahead until now he is among our
finest American sculptors. He is one who stimu-
lates the imagination and raises the standards of
art in whatever he models. His work is pregnant
with life and is thoroughly individual, so that
you feel when you look upon his figures that you
have met more than mere bronze or marble. His
portraits are of a very high order, many of which
can be seen in medal form in the Fine Arts Pal-
ace, He lives in New York, where he is well
appreciated
Mrs. Gertrude Vanderbelt Whitney
Mrs. Gertrude Vanderbilt Whitney is one of
the foremost American woman sculptors. The
Fountain of El Dorado is her first public contri-
bution.
Bruno Zimm
Bruno Zimm, living in New York, was a pupil of
the late Karl Bitter. He has designed work for
former Expositions, and we trust that his name
will be better known in the future. He has
added great beauty to the Fine Arts Palace by
his classic friezes designed in effective, bold masses.
The archaic style used in his work is evident in
many of the sculptural forms at this Exposition*
SCULPTURE AROUND
THE FINE ARTS LAGOON
The first group of statuary in the following list is located
on the south-east side of the Fine Arts Lagoon. Proceeding
thence to the left and through the colonnade, the most
important subjects will be found in the order described
Sea lions. Frederick G. R. Roth
Most carefully studied as to form and habits; you almost hear the bark of
the great male.
The Scoot. Cyrua Ed win DaHin
The horse and the Indian wait motionless; his hand shading his eyes from
the sun, the Indian looks intently into the distance for sign of the enemy.
Wind and Spray. Anna Coleman Ladd
A ring of figures — male and femal e flee t i ng and gay— like the wind and
the spray.
Diana. Haig Patigian
The goddess of the hunt appears with her bow; the arrow has just left
the string.
Peace. Sherry Fry
Quiet, serene, she stands, her brow bedecked with ohVe leaves; her serpent-
bordered robe may betoken the wisdom of peace.
The Kirkpatrick Fountain (extreme left). Gail Sherman Corbett
Erected to Dr. Wm. Kirkpatrick, superintendent of Ononda Salt Springs
from 1805 to 1806 and from 1810 to 1831, at Syracuse, New York.
The Bison (2). A. Phimister Proctor
The last of a vanishing race — fine, powerful figures.
Henry Ward Beecher Memorial. J. Q. A. Ward
- A noted American clergyman, lecturer, reformer, author, journalist; lived
between 1813 and 188/; a man of forceful personality and fine intellect;
he looks the very man of opinions who would not hesitate to give them to
you — and you would be prone to accept them.
William H. Taft. Robert Ingersoll Aitken
One of America's greatest statesmen.
Hakey S. Ives. Victor S. Holm
Was director of the Fine Arts Palace, Pan-American Exposition.
Seated Lincoln. Augustus Saint'Gaudens
The firm man of thought and action; a replica of the Seated Lincoln of
Lincoln Park, Chicago.
Piping Pan. Louis Saint'Gaudens
He stands, utterly thoughtless, with his double pipes — passing the hours
in amusement; we see him at a musical moment.
Flying Cupid. Janet Scudder
With the rhyton, the Greek drinking-horn in his hand, Cupid stands above
the globe, his little toes holding on firmly so that he will not slip.
A Muse Finding the Head of Orpheus. Edward Berge
The mourning muse has just chanced upon the severed head of Orpheus
which had been cast into the stream by the Thracian maidens; short pieces
of marble are left to support parts easily broken.
Michael Angelo. Robert Ingersoll Aitken
We seem to hear him say, "And now where next to place the chisel?" He
is creating "Day," which is seen in the Medici Chapel, Church of San
Lorenzo, Florence, Italy.
[93]
SCULPTURE * FINE ARTS LAGOON
Nymph. Isidore Konti
A poetic conception of the origin of the stream, from which the fawn drinks.
Young Pan. Janet Scudder
A favorite subject.
Pan is piping his woodland notes and marching to his own music. Such
expressive little hands are those that hold the pipes! The crab comes up
to listen and is held— spellbound.
Wildflower. Edward Berge
Everybody's love! A real darling! A little flower of the fields.
Mother and Child Furio Piccirilli
A typical mother-expression as she croons over her baby — such a dear one!
Eurydice. Furio Piccirilli
Orpheus has just looked back — Eurydice, realizing that he is forever lost
to her, looks mournfully after him. Great longing fills her soul.
Boy and Frog. Edward Berge
An independent young chap' stands among the rushes — and how expressive
are those toes! The frog, as the fountain, spouts water.
The Dancing Nymph. Olin Warner
Her pine-cone wand thrown down, her pan-pipes cast aside, the ivory-
crowned nymph indulges in the dance.
The Outcast. Attihb Piccirilli
A powerful nude; his very toes portray his grief; surely suggested by
Rodin's work.
Boyhood. Charles Cary Rumsey
The youth who is just beginning to gather his sheaves, looks up and sees
the stars! A new treatment in sculpture.
The Pioneer Mother. Charles Grafly
A simple, dignified woman dressed in home-spun. At her knees a boy and
a girl — the future builders of the Western country* She has crossed the
cactus-covered plains, has endured the greatest hardships, that she may
rear her sturdy little ones to lay the foundations of a mighty Western
empire. The bulls' heads are symbolic of sacrifice; oak leaves symbolize
strength. She is best seen in the afternoon.
Thomas Jefferson. Karl Bitter
The seated president, with a world of thought upon his face, has on his lap
the Declaration of Independence.
Lincoln. Daniel Chester French
The rugged man of magnificent understanding, whose every thought was
for the hetterment of the race.
Relief from the Boston Museum of Fine Arts. Richard H. Recchia
Illustrating Sculpture.
The Commodore Barry Monument. John J. Boyle.
A naval hero who died 1 803 . Fought in the American Revolution. Victory
rides at the prow with laurels for him. The "eagle" shows for whom he
fought.
Relief from the Boston Museum of Fine Arts. Richard H. Recchia
This panel represents Architecture.
Earl Dodge Memorial. Daniel Chester French
Earl Dodge, scholar and athlete, was a greatly beloved Princeton student—
a senior who died just as his college gown was about to be placed upon
his shoulders.
The Young Franklin. Robert Tait McKemie
With all his earthly possessions wrapped in a bandana, with upward gaze
and confident gait, Benjamin Franklin goes to seek his fortune.
Lafayette. Paul Wayland Bartlett
The young Lafayette who helped the United States in the Revolutionary
War and was present at the surrender of Lord Cornwallis.
[94]
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SCULPTURE * FINE ARTS LAGOON
Relief. BelaL. Pratt
Representing Sculpture,
Relief from the Boston Museum of Fine Arts
Representing Sculpture. A relief of simple sweeping lines of great beauty.
The Awakening. Lindsay Morris Sterling
The day has dawned and with it life awakens.
Beyond. Chester Beach
A girlish figure wonders what is coming with the future years. Best seen
from across the road.
William Cullen Bryant (1794-1878)
An American poet of the first rank. He sits thoughtfully — his manuscript
before him. Laurels grace his pedestal.
The Sower. AJbinPolasek
Along the field he goes, scattering his seed.
Centaur. Olga Popoff Muller
This bestial creature is in the act of abducting a beautiful woman. She
has almost swooned from fright. .
The Boy with the Fish. Bela Pratt
They are singing for joy— the fish seeming to be most comfortably at home.
Even the little turtle is happy. The little toes must not be overlooked.
Returning from the Hunt. John J. Boyle
The Indian is advancing under the weight of a huge bear across his shoul-
ders, and the huge skin of a companion bear being dragged at his side.
U Amour (Love). Evelyn Beatrice Longman
A group of tender, loving trustfulness. In the background are seen angel
heads, denoting the spiritual side of love. The serpent below suggests the
great wisdom born of love. It overcomes all death (the skull). ^The oak
leaves symbolize eternal love.
Garden Figure. Edith Woodman Burroughs
Is this little Adam with the apple, or only a little boy with a ball?
Youth. Victor H. Salvatore
A little maid in sweet simplicity — against the shrubbery.
Soldier of Marathon. Paul Noquet
Recalling one of the Niobids of the Uffizi Gallery, Florence. The last
dying agony of a Greek soldier. His shield stands at the left.
Primitive Man. Olga Popoff Muller
He hauls the quarry home. Would the nose of primitive man be so lacking
in primitiveness?
The Scalp. Edward Berge
The Indian stands exultant 1 His hands alone betray what has happened.
The rest of the work is most carefully treated to cover the barbarous side
of the subject.
Apollo Hunting. HaigPatigian
"I shot an arrow into the air." This muscular figure recalls the work on
Machinery Palace done by the same sculptor.
A Faun's Toilet. Attflio Piccirilli
An awkward, somewhat bashful, wholly boyish faun — his costume an ivy
crown.
Duck Baby. Edith Barretto Parsons
A gleeful little soul with chubby toes — more gleeful than the quacking
ducks she squeezes.
A Maiden of the Roman Campagna. Alhtn Polasek
Like an antique bronze from Pompeii. The anemones in her braided hair
are surely some of those that grow so plentifully on the great Campagna
beyond Rome.
•
[95]
* • »> • ■% •
SCULPTURE * FINE ARTS LAGOON
Head of Lincoln. Adolph Alexander Weinman
He might have looked like this at the time of his Gettysburg speech.
Daughter of Pan. R. Hinton Perry
A girlish satyr most intent upon the echoes that she makes when blowing
through her double pipes.
Mother of the Dead. GS. Pietro
The old mother, though grief-stricken, accepts the inevitable, while her
motherless grandson, not understanding, feels that something is wrong.
Destiny. C Pertival Deitsch
Does Destiny decree that man shall lead, while woman meekly follows,
as she did in ancient Egyptian days?
Chief Justice Marshall (17554835). Herbert Adams
A dignified seated figure — one of the greatest Chief Justices the United
States ever had. He held the position from 1801 to 1835. The United
States is symbolized by the eagle.
Rock and Flower Group. Anna Coleman Ladd
A decorative group wjth no special meaning. It might be called "Idle
Moments."
Great Danes. Anna Vaughan Hyatt
Watchful Danes guard well the portals. Their names might easily be
"Keenly Alert" and "In Sober Thought."
Bondage. Carl Augustus Heber
The mother, tightly bound, thinks not of herseli as she turns away, but
of the weeping child beside her.
Said -a Sun DiaL Harriet W. Frishmut
A nymph acts as a pedestal for a sun-dial.
Sun* Dial Boy. Gail Sherman Corbett
How interested he is in the chameleon which has curiously crept up to see
who it is that gazes at him.
Sun'God and Python. Anna Coleman Ladd
Apollo, the god of light, shoots at the python (the symbol of darkness).
Triton Babies. Anna Coleman Ladd
t. *., Children of the sea-gods, the Tritons.
Bird Fountain. Caroline Evelyn Risque
The little boy holding the bird clings to the globe with his toes. A simple
and very appropriate bird fountain.
Prima Mater. Victor S. Holm
The "first mother" holds her babe to her breast.
The Fountain of Time. LoradoTaft
The great ocean of Time is rolling on, carrying with it men and women of
all conditions of thought. Some advance blindly, some hopelessly, some
fearfully, some buffeted by the great waves as they roll on.
Nymph- A Garden Figure. Edward T. Quinn
Showing how any figure gains in beauty by being placed among the
shrubbery.
The Dying Lion. Paul Way land Bartlett
A powerful and most realistic group. The poor animal is in the last agony-
is evidently starving.
New Bedford Whaleman. Bela Pratt
Such was the type of man who left the town of New Bedford, Massachu-
setts, a whaling port, to seek his occupation in northern waters.
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