Augustus Saint-Gaudens . ed himself to anyextent on allegorical and symbolical composition. Theseveral angelic figures he produced are, when all is said,merely angelic. Their physiognomies are furrowed byno lines of complex thought. But the seated divinity inthe cemetery at Washington touches the mind at manypoints, and is remembered with a sense of profundityand supernatural wonder. It is Saint^Gaudenss one memorable efibrt in thesphere of the loftiest abstraction. His other greatest triumphs were won in the field of portraiture, working inthe round and on the scale of a public monument. Twic
Augustus Saint-Gaudens . ed himself to anyextent on allegorical and symbolical composition. Theseveral angelic figures he produced are, when all is said,merely angelic. Their physiognomies are furrowed byno lines of complex thought. But the seated divinity inthe cemetery at Washington touches the mind at manypoints, and is remembered with a sense of profundityand supernatural wonder. It is Saint^Gaudenss one memorable efibrt in thesphere of the loftiest abstraction. His other greatest triumphs were won in the field of portraiture, working inthe round and on the scale of a public monument. Twicehis subject met him halfway in respect to picturesque-ness: when he made the Chapin monument at Spring-field, known as The Puritan, and when, with theassistance of Miss Lawrence, he erected a statue of34 DEACON CHAPIN Modelled in New York in the late eighties. It is not intended as a portrait, but as an ideal embodiment of the traitsof The Puritan, the title by which it is generally stands in Springfield, C. C. BEAMANModelled in the early eighties.
Size: 1341px × 1864px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorrogersbruce18701957, bookcentury1900, bookdecade1900
