. The æsthetic attitude. photograph of this masterpiece to some of themodern statues of military heroes in our publicsquares. Our own muscles will relax in responseand the figure instead of appearing to be of fleshand bone will seem of hollow lifeless bronze. Thereis little doubt that the physical strength of theartist is a condition of the amount of empathysuggested, for he must himself feel in his own bodythe pose of his group. To a weak individual, tooviolent empathy is painful and is avoided. Statuesby women sculptors most frequently show thislack of force. One feels the listless droop of
. The æsthetic attitude. photograph of this masterpiece to some of themodern statues of military heroes in our publicsquares. Our own muscles will relax in responseand the figure instead of appearing to be of fleshand bone will seem of hollow lifeless bronze. Thereis little doubt that the physical strength of theartist is a condition of the amount of empathysuggested, for he must himself feel in his own bodythe pose of his group. To a weak individual, tooviolent empathy is painful and is avoided. Statuesby women sculptors most frequently show thislack of force. One feels the listless droop of thearm, the lack of weight of the body, and the rel-atively slight expression in the posture. This communication of force and motion is not alate development. The early Greeks expressedit very clearly, though sometimes awkwardly, asfor instance, in the representation of the battlebetween Hercules and the Amazon in the Metopefrom Selinus in the Museum of Palermo (Fig. 5).Not only is there action in the posture of Fig. 4.—Equestrian statue of GeneralColleoni,
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Keywords: ., bookcentury1900, bookdecade1920, bookidstheticattit, bookyear1920
