Appreciation of sculpture; a handbook by Russell Sturgis ... . y parts; a fautless ex-pression of repose. This is an achieve-ment indeed; and the point to consider isthat it involves the modelling of le morceaicin both of the senses in which the expres-sion may be used, as just now stated. Doyou care for subtile gradations of surface ?Do you care for artistic expression of im-portant natural facts ? In either case youare suited here, your demands are met in asatisfactory way. Another artist will care more for pose andfor the expression of action. Let it not beassumed that he disregards the det
Appreciation of sculpture; a handbook by Russell Sturgis ... . y parts; a fautless ex-pression of repose. This is an achieve-ment indeed; and the point to consider isthat it involves the modelling of le morceaicin both of the senses in which the expres-sion may be used, as just now stated. Doyou care for subtile gradations of surface ?Do you care for artistic expression of im-portant natural facts ? In either case youare suited here, your demands are met in asatisfactory way. Another artist will care more for pose andfor the expression of action. Let it not beassumed that he disregards the details;indeed he cannot complete his expression ofthe human body in action without attend-ing to the details. The statue modelled bythe English painter, Lord Leighton, andexhibited in 1877, represents a vigorousman strangling a python who is trying tocrush him in its folds; and everythinghere may be thought to be sacrificed to theexpression of violent effort resulting in norapid movement, but in the great exertionof strength in other muscles than those of[216]. Plate LXII.—STATUE, athlete axu serpent; AFTERWARDS LORD LEIGHTON (183O-1896). HY SIR FREDERICK LEIGHTON, Recent Art Compared with Greek Standard locomotion. This is expressed finally in thepose of the figure (see Plate LXII) ; but thevery matter alluded to, the grip of the toesupon the ground and of the fingers on theserpent, is as important to the expressionrequired as is the attitude of the wholebody ; and therefore both have been con-sidered equally. Still, in any such piece ofwork, the artist wdll think first of the poseof the whole body. If his figure is repre-sented as in motion, the very first thing todo is to make it steady on its legs, wellpoised, so swaying with the action of walk-ing or running that the momentary attitude,the very position given to the block ofhard material, shall be that of the man inthe momentary pause between two of hisstrides. This figure by Leighton is aca-demic, completely so,—the ver
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectsculpture, bookyear19
