The San Francisco Call. Newspaper, June 2, 1901, Page 10

TRITON o B Hicr%;sal_ ‘ToNETTI] « e consequent treat- asm which He did notable ir, and his vigor- the Dewey arct ng the mbdeling of the splen- 34 “The Men Behind the Guns, e public memory. The stren- hich marks his pleces of hing more than a render- » stone of his nature. The vigor of art satlor in that group of re vigor of Karl Bitter. He 1 work he is broad enough 2 it is not of his own be an opportunity to p to the national taste, exposition should be an object les- esthetics @s well as a tidemark Zor the utilitarian of the time We remember well how the very moder- mte emount and modest quality of the art work énnial Exposition of awakening to esthetics in people of the country, raised 1 grayness of American life. ndreds of soldiers’ and scattered over the hat time—the infantryman ed cap and the army cloak, on ar, repeated a hundred timss— re these monuments with rik that is common now, and ceive a great growth not only c taste, but in our sculptors. Mr. s part of that growth. He is a in sculpture; that is, he is and in the full flush of his power. T nie-Ream era wae before his time. One may not be quite sure that the actually no more, but received its death blow, st have merit to gain t of Mr. Bitter's combat knows goc to apprecia at Symbolism Everywher rved that sculpture Around the Elec- mphal Causeway n to carry into sym- he ideas these struc- ted inspire. The s been so markedly whole scheme of the sition should in fine rect t ation in sculp- exposition was to elopment and the the other side it for Nature and the use by forces. The Electric To! ining of the wat- produce power and Exp- to light, wo t symbolic oppor- tunities, ordered. In John M. Carrere, of the board of architects, Karl Bitter found a very sym- ic colleague. Together they plan- ned a display of statuary which called for important work by no less than thirty- five sculptors. In mere number of figures the output will, it is said, exceed the Chi- 2go exposition. In merit it can already be said to be much higher. To facilitate the work Mr. Bitter cre- ated a molding plant at his studio Hoboken, where the artists sent their ~foot high models and where the fig- enlarged to the required size, were eled and cast in staff. This served onomic end as well, for the work could be done more cheaply as well as more expeditiously on the large scale. Be- fore t first of May 500 figures and over had been sent to Buffalo. On the exposi- tion grounds another molding plant has been set up for the architectural detail work. Now as to the sculpture scheme. It fol- large d the symbolic idea enshrTney ™ ™ platting of the exposition buildings them- selves. It naturally, therefore, divided it- seif 1 1to four main parts—first, the sculp- tural decoration of the Triumphal C: way at the south he United to signify the tes anu its glo power s in ; next, the allegorical illustration of n and his works along the eastern side of the great central avenue; of Natu and her forces on the western side, and last, the local and specific symbolism of the great inland waters, of light born of the waters, all centering about the Elec- tric Tower at the northern end. These four main ideas had each their sub-divi- sions, which need not be tediously retold. Suffice it to say here (the visitor to the exposition will have ample chance to fill out the sketch for himself) that the tow- ers of the Causeway a equestrian figures, and t buse of the towers and niches carry out the ide tional pride and patriotic quality. Advancing north- ward from the Causeway, we flnd our- selves on the Esplanade, which here crosses the central avenue. On the right hand side is a great cruciform basin with many fountains, Man and Nature. The groups and figures that rise therein from the water are dedicated to Man. The central and most important is the Foun- tain of Man; on either side are subsidiary fountains, the Fountain of Hercules the strong and the Fountain of Prometheus the aspiring. Around“this basin are six important groups symbolizing man in his various stages of development from say- age to civilized. Turning to the left there is a similar arrangement of fountains in a great cruciform basin. Here the central work is the Fountain of Nature; on either side are the Fountain of Kronos, symbol- izing Time, and of Ceres, typifying the germinating forces of the earth. The six groups typify mineral wealth, animal wealth and floral wealth. Now looking down the central avenue once more, we face the Court of Fountains, the Foun- tain Abundance facing us. In the Court of Grand Basin, beyond and in front of the Electric Tower, Is the great grouping symbolizing the Genlus of Man, with subordinate groups of the Human Emotions and the Human Intellect, with the Birth of Venus on one side and the Birth of Athene on the other. We are now facing the Electric Tower, and from 350 feet in the air the golden statue of the Goddess of Liberty looks down on us. Here are the two pylons typifying the Great Waters in the time of the Indians and the time of the white man. Around the colonnade of the tower we see sym- bolic figures of the Great Lakes them- selves. Four rivers are shown in the spandrels with pylons of the Genlus of Progress. The conception throughout is a beauti- ful one. When we take these masses of sculpture in connection with the architec- tural splendors of the fair, the harmoni- ously tinted buildings, the multiple foun- tains and canals, the gardens and flower beds, the strfking lift of the Electrio Tower, we have a feast for the eye and a repast for the mind uplifting and ennob- ling. Irrespective of the exhibits within the spacious halls it will draw millions to see it and rejoice in it. Looking over the result of the sculptural work thus broadly outlined, so far as it can be seen at this writing, there is solid ground for congratulation. It proves that we have a body of sculptors of high magination, capable of realizing their dreams in form—artists that any nation might be proud of. The level of the mon- in their Wimental sculpture at tne Pa Exposition is a high one. Free rein has been given to individuality. As subject was given by Director Karl Bitter to Iptor. Tt was to be a single figure or 2 group, occupying such or.such a site; the figure or figur to be on such scale as to hei hat was practic all. It was not to be expected th every case a masterpiece would but the number of exceedingly and merito it wonder at. Few pieces is something to actual fallures have been made, and these, it is-inderstood, will not be exhibited. Despite the carte blanche of the order, much of the work is within conventional lines—a path of safety has been sought even by very skillful artists, but the special glory of the ‘“great work’ will ine out all the more by the con- trast. The names of Isadore Konti, Philip Martiny, Frank L. Elwell, Charles Grafly Charles L. Lopez, Karl Bitter, Charles E Niehaus, George Gray Barnard, Paul W Bartlett and John Boyle will easily take front rank. Without any des a definitive rating one may place in close order to the foregoir Herbert Adams, Edward C. Potter, George T. Brewster, John Gelert andg Louis A. Gudebrod. Ad e to attempt al sur has golden._cols Ligh Tower, ms ‘with h Godcess Tierbert figure, e mornting the achieved much. and well modeled and conveys its idea fully, with ontspread wings and uplifted torch, but the poise of such figures has, once for all, been set in the antique Mer- o new lighted on a heaven kissing hili,” emphasized so lately by the Diana of the Madison Square tower that the room for originality is much narrowed. It will be admired, however, as’it deserves to be. Considering that it will be: the central point of the exposition by day 2nd by night, this is much to be thankful for. Other work here by this sculptor does not rank as well. His “‘Age of En- lightenment” is smooth and balanced, but trite and academic. He seems to achieve best where the decorative is the essential of his work. Mr. Bitter’s Own Work. .Karl Bitter limited his own work to the four herolc equestrian “‘Standard Bear- ers” on top of the hundred foot high square ‘pillars of the Triumpbal Cause- way. These can only be fully and finally considered-when mounted in their exalted places, but they cannot fail to be tremen- dcusly effective. They are the flag car- riers of Power and Peace, and, although the pose of the man with held up banner on tha high rearing horse is substanually repeated in all, there is a differentiation in each as striking as the repetition is bold. The sense of might, of uplift is splendid and icspiring, whether it be the naked Greek helmeted warrior or the naked Lord of Music with chaplet of bays and an- tique lyre. All the artist’s tense strenu- ousness is here in a clear note in alt. The musculation and articulation are fine. Hcrses and men, they are magnificent. If Mr. Bitter's work has one fault, it is that the point of rest is often wanting. Here the subject does not insist on it, but is found in the firmness of the seat of the riGers. His standard bearers might leap off the four towers at any moment, you feel, without belng unhorsed. 1t is, however, the work of Isadore XKontl that will probably attract the keen- est attention among art lovers and the public generally—the public which so often goes astray in its groping after what I8 worthy. But there is no mistak- ing the merit and skill in Mr. Konti's group, “The Despotic Age. The despot, the tyrant—a grim, powerful figure of Ro- man type, with back blown toga clasped of Electric Tt is light, airy, graceful, mericar THE SUNDAY OALL ORIGINALS CoPyRIGHTED, 1900 ,BY THE Pan-AMERICAN EXPosivioN < his throat and clenched: hands, ore sting on his knee, the other, akimbo, resting on his hip—s seated in his chariot, drawn by four staiwart serfs, three of whom are stooped ia slavish resignation, while on one who hns risen up in protest a female fury standing beside the despot is laying on the lash. To the rear of th= car two women capiives—Truth and Jus- tice—are chained. As a composition it 1s finely balanced and the ymbolism en- forced in every deiail. Viewed from any point it is satisfying and tells its story. The firm seated despot, looking far off to w conquests, indifferent to human suf- at E the sense tiiat in hi you » young and tne old alike his ser- vitors, with ev ir strength, every cord cf the awfui vigor of the bat winged woman with the lash; the hopelessness of revolt: the cheapness of life; (s of it a man yw—the e pal vibrant before you. It will be one of the lions of the exposition. Mr. Konti's other groups at the Temile of Music—namely, “Gay Music,” “Religious Music,” “Heroic Music” and “Apollo. God of Music also notable compositions in_evers and only dwarfed by Mr. Konti's own work in the despotic group. With Philip. Martiny come grace and life in varied expression. He has much work scattered through the exposition, all of it admirable, but 1 would select for especial note his gracious female figure of “‘Abun- dance,” surmounting the fountain of that name, of which Mr. Carrere designed the architectural adjuncts. Swaying as in a dance of delight, with a long chaplet of flowers curving benind her back and be- tween her extended arms, her head turned to the left, her drapery (under which the svelte figure is felt) blowing to the right, she stands on the roundness of the world, and a laughing, singing circle of chubby youngsters are dancing and tumbling around the base. It is a joyous thing. Symbolism goes very far with Frank L. Elwell. This pupil of Falguiere fights on the ground of his master with great vigor and skill. His Fountain of Kronos, with its strange, striking central figure, will furnish conundrums to thousands. Father Time for him is not an old man and a scythe. No, indeed! Time is a strong- I'mbed, heavy-loined man, with great wings, because he flles; with an equal weight In either hand, because he is in- different to all; with veiled face, because no one knows his secrets. He stands upon the tortoise, because his advance is steady, however seemingly slow. 'or- tunately, his Fountain of Ceres needS not so much glossary. Mother of fruits and harvests, she is the type of the earth’s fecundity, and this is seen in the utter mobility, dignity and simplicity of the figure, with her symbols of life and growth hel®up to the risen sun, toward which her face is lifted, while her wide, light draperies are backward blown by the morning . breeze. You feel here a strong, appealing conception, executed with great certainty, and, as sald before, in ravishing simplicity. Charles Grafly has pushed symbolism very far indeed in his mysterious Foun- tain of Man. Man is a mystery to him- self for all our self-introversion. He looks blankly out on the world from be- neath a cloak which hangs from his Orien- . BuEFALOES RESTINGS £G.RoTH tar read covering, Is gathered in about his waist and descens in Egyptian folds to his feet. His foothold rests upon the Five Senses, who, with interiocked arms. are walking in a circle. The me of his mbol lies, it is to be presumed, “in the application of it.”" The formalizing of the chief figure well done and the free modeling of the supporting ires excel- lent. The man can be seen from two sides, which is a convenience, and can be seen with a difference. for reflective minds it ordinary person is In its suggestion is rich, but the nt to sec in the fig- ure more of a man with a rain shedder on his shoulder than a mystery. = That is the bother with the extremely symbolic. People are as apt to ask why Mr. Grafly gave man a mackintosh or why Mr. Ei- well only gave Kronos a napkin to cover his face withal as to find food for pro- found speculation in either. Still, this aside, the group is attractive, and the fig- ures of the Senses beneath and the strug- gling Virtues and Vices are vigorously conceived. In the Fountain of Nature, George T. Brewster surmounts the work by a nude female figure holding up a golden sun with both hands. It is the'form of a young woman, modeled gracefully and with a sense of lightness, but somewhat stiff of pose. The figures of the Four Elements beneath are fair, but not strik- ing. The Four Winds are better; 'the Four Seasons are again not so good. Al- together, the pile is effective to the glance, however it may be in detail. “Mineral Wealth.” Charles N. Niehaus in his “Mineral" ‘Wealth” has given us a mixture of sym- Bol and reality that is well handled. The female figure of Opportunity in wind tossed drapery calling to the workers is boldly set up and natural and unconven- tional in pose, while before her the pros- pector, the geologist, the delver and the smelter—all good, live figures—are busy at their tasks. It will be admired by the connofsseur and the untaught alike, but it is not going too far to say that the lat- ter will be in danger of dubbing it “Din- ner Time in Camp” and turning the glor- ious maid whom everybody tries to em- brace into a transfigured boarding missus announcing the hour of the midday meal. Bela L. Pratt's “Floral Wealth” will perhaps reach the ladies with its semi- nude Flora in her chariot, a girl running beside it, an old woman' following it and two nude little boys, marching with the Prussian parade step, drawing it. The ladies will. pronounce the little boys *‘too BIrTH (] ATHENE, > MICBAEL ToneTTI 2= cute, rank for all that. but the group will not take high Paul W. Bartlett ill, however, score heavily with his work, ‘“The Genius of Man.” Hi Iuman Emotions,” with its figures of ¥ d grief and despair, is a real poem in form of a quality sel- dom seen in sculpture of this order. John J. Bovle has given us a very realistic group in his “Savage Age in the We It is an Indian war dance. The crouching, turning figures of the braves, the drummer squatted beating on the In- dian drum, true to life and artisti- cally grouped, though the artifice is cleverly given an appearance of the ut- most unconventionality. E. C. Potter's “Animal Wealth,” which shows a car erect crushing a deer and a white trapper and an Indian hunt- er, is admirable, better than his group of the tamer variety of riches in cattle. In his two pylons of the Electric Tower, “The Great Waters,” George Gray Barnard has held his splendid promise nobly. Here is vigorous work, high in finish, startling as graceful in conception, and falling into its architectural setting perfectly. The “Great Waters in Indiar’ Times” présents an Indian brave, feather. bonneted, standing wn the prow of his canoe, holding up his bow and arrows ty Manitou, with many accessories at his feet. “In the White Man’s Time” the in. land seas show personified by a nude boy who, with outstretched arms on a wherry. seems calling out “Ship ahoy.” The grace of these figures is very home reaching We might have' expected more powerful figures to illustrate such a theme, but the world is young and let us be satisfied, The ‘“Lake Series.” _ Interest will attach to the six figures in ihe colonnade bodying forth the Gre: Lakes. They are of uneven merit. “La%e Huron,” by Louis A. Gudebrod, is tho most characteristic—the figure of a Huron brave in the act of spearing a fish. | ape Michigan,” by Carl E. Tefft, a femare bearing an Indian fishing spear and iook- ing down into the waters, is gooq also. The same artist's “Lake .Superior g rather strained male figare, is not so pleasing. - “Lake Erfe,” a seated drapeq female with a horned headdress, the pai- dle and quiver beside her, is a serene study in dignified contemplation, L Ontario.” by Philip Martiny, is an e ceedingly graceful girlish figure. “Lakg St. Clair,” by Henry Baerer, gives us the ss’;‘ne idea In more fleshly form, 0 mention all single f lance. “like John Gelerts ~piborterco at Martiny's “Torch Bearer,” would prolong this running comment unduly. Outside the sculptures distinctly Fan- American there will be seen St. Gaudens” colossal equestrian statue of General Sherman, designed for a New York park site. ~French's heroic Washington, on horseback, which was seen at the Paris World’s Fair, will be seen here also, with its wonderful lighting up of the face of the Father of His Country. In addition to this urely American work there will be reproductions of many cla and renaissance ulptures in the inter-columnar spaces of the Propyloea back of the Electrie | While in Eu- rope last year Mr. Bitter also secured copies of a great number of pieces of sev- enteenth and eighteenth century work from the famous garden and parks of Versailles In this connection it m the Fine Arts Building destined to the display of American paintings is in a very backward state. The marble Albright gal- lery, which was to have held the colle tion, could not be finished in time, and hence a new temporary building had to be erected. Director W. A. Coffin is confident of a fine representation of American a ists, but it will not be visible pefore June. Still, no one need hold back on that ac- count from visiting the.fair. In its out- ward aspects it will repay every art lover in Pan-America—north and south of the equator. 9 y be raid that Quite Indispensable. Towne—I've seen Gazley several nights recently with his field glasses. I won- der what his game is? Browne—Oh, he's calling on Miss Kul- cher of Boston. Towne—The idea! What does he carry field glasses for? Brown—He doesn't. He merely uses the case to carry a dictionary in,—Phila- delphia Press. Shorter Process. Mrs. Chugwater—Josiah, the paper says $200,000 worth of oats changed hands in & few minutes. How could they do all that in so short a time? Mr. Chugwater—The oats didn't really change hands. The cash changed pockets. A woman oughtn’t to try to understand these things ‘They're away beyond her. —Chieago Tribune. ———————— At a recent sale of Angora cats at Kan- sas City good prices were realized. The little animals were mostly from New Mex- ico and brought from $3 13 to §25 & heads