Appreciation of sculpture; a handbook by Russell Sturgis ... . he differenceof conception between the Greek and themodern man. Thus it would not takelong for most students to ascertain thatthere is much more of the classical feelingin The Driller than there is in The persons looking at the two statues orat any two photographs of them, will feelan immense superiority in artistic charm ofthe first named, which is also the earlierproduced of the two. Whether or not itwas proposed by the sculptor of the Hewerto express a less perfected form of the bodyof man, it will be felt by most per
Appreciation of sculpture; a handbook by Russell Sturgis ... . he differenceof conception between the Greek and themodern man. Thus it would not takelong for most students to ascertain thatthere is much more of the classical feelingin The Driller than there is in The persons looking at the two statues orat any two photographs of them, will feelan immense superiority in artistic charm ofthe first named, which is also the earlierproduced of the two. Whether or not itwas proposed by the sculptor of the Hewerto express a less perfected form of the bodyof man, it will be felt by most personsthat there is something of that characterabout it. It is in a way formless ; the dig-nity of sculpture seems not to have beengiven to it. In the Niehaus statue, how-ever, there is much dignity, and one is re-minded of a more entirely classical compo-sition, that figure which was exhibited inthe first show of the National SculptureSociety and which then reminded us of TheScraper (Apoxyomenos) of the Vatican,tliougli that was, as it seemed, a conscious[U2]. Recent Art, Part I, Form study of antiquity and this is merely astudy from life carried out in the spirit ofone who loves antiquity. Such another work of art is The Racers,also by Boucher (see Plate XXXV). Thiswork, of which the proper name is Au But—* At the Goal, is again non-classical inits treatment, and essentially so in the typesof forms, which have nothing of the graceand little of the non-intellectual characterof the Greek statue of The Athlete, properlyso called. We will consider this group inthe present section under the first heading,merely, because it is a study of the nudeform alone, without even the remotest con-sideration of sentiment (for the eagerness towin is not a sentiment at all, but a part ofthat brutality which nature uses to keepher physical forms in energetic life). Thecriticism easy to pass upon it is that thesemen are not in the attitude of the chosen,the accepted, the representative, competito
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectsculpture, bookyear19
