Page:The New International Encyclopædia 1st ed. v. 17.djvu/799

* SCULPTURE. tuie, which found ils iiispiralion in the Middle Ajjt's, I'roni which its >ulijects were largely drawn. Its cliiel itprL'si'iUative was I'li'aul't (lSUU-79), but UfitlKT 111' iior his followers made tctlinioal iiiiijr(JVi'iiients on the olassioists. A uiure iniiiorlant form of the reaction was natural- ism, whieh found its eliief early representative in David d'Auj;ers (1780-18.50), whose works are a transition from classieism to modern realism. His portrait statues and Inists are often not only eharaeteristie. but absolutely realistic. The most prominent tigure durinjr the tirst lialf of the nineteenth century was Frantjois Kude (178-1 18.').")l, who also began as a classicist, but soon yielded to an innate naturalism. His "Departure of the olunteers in 17'.l.3'" on the Arch of Triiunph in Paris was epueh-makin;; in modern sculpture. The same naturalism was applied to the representation of wild animals, the savage strength and character of which was presented with great force by Antoine Louis Harye (1795- 187 j), and by his pupil Auguste Nicolas Cain { 18-22-94 ), who portrayed, though with less ability, the greater pachyderms. Classical and naturalistic tendencies run paral- lel in the second half of the nineteenth century with an increasing influence of naturalism. Among the more strictly classical are men like Henri Chapu (1833-91), who worked freely in the Greek spirit, Duraont, .JouH'roy, and Perraud. In academic circles the romantic and natural- i.stie tendencies have gained great ground, so much so that the Renaissance rather than an- tiquity may be considered the source of inspira- tion in the well-balanced and technically faultless compositions of men like Paul Dubois (1829 — |. Other important representatives are the clever and versatile Falgui&re (1831-1900); Antonin Merci<5 (1845 — ), who.se art is graceful and re- fined; the fantastic but more highlv individual Saint Marceaux (1845 — ); Bartholdi (1834—), sculptor of the Liberty Statue in Xew York Har- bor; and Louis Ernest Barrias (1841 — ), whose work is characterized by largeness of treat- ment. .Jean Baptiste Carpeaux (1827-75). a pupil of Rude, carried his master's naturalism to its logical conclusion in work characterized by great abandon and dramatic power and by a sensuality reminding of Rubens. Emmanuel Frf- miet (1824) combined the art of his uncle Rude with that of Barye, being equally successful as an animal and figure sculptor. His works are mostly fine equestrian monuments and genre subjects. Perhaps the greatest works of all have been produced by the later naturalists, who since the misfortunes of 1870, which seem to have had a disciplinary effect upon French art and life, have executed works of the highest order. The two chief leaders were Jules Dalou ( 1838 — ) and Auguste Rodin (1840 — ). who headed the sculptors in the secession of 1890. when, joining with the painters, they formed the salon of Champs de JIars. The former is a realist on the order of Carpeaux. refined by academic train-, ing. who endeavors to maintain an historical con- tinuity with French art of the time of Louis XIV. Rodin is probably the greatest sculptor of the century. Scorning all traditions and fol- lowing nature alone, without regard to elegance of form, he has produced dignified though melancholy statues, which will bear comparisim with the best work of all times. A verv remark- 725 SCULPTURE. able individuality is liartholom^ (1848 — ), a painter without training in sculpture, who liai recently produced ma-teriiicces of the tirst order, especially in funerary sculpture. There arc many other important l;ihnts in France whom it is impossible even to mention by name. In seiil|i- inre, even more than in painting, Paris has be- come the school of Europe. The minor arts of scul|)ture have also been most highly de- veloped. Chaplain and Koty have brought the art of engraving medals to high perfection, and great success in medals as in .statuettes has been achieved by Theodore Riviere. Sculpture in Belgium has not essentially dif- fered from th;it in France. The realistic move- ment began in IS.IO. producing such m<>n as Fraikin ( 1S1!»-<I3|. ( on-tantin Meunii'r ( 1831 — ), who with line realism has rejiresenled the dignity of labor in a manner reminiscent of .Millet, and l.ambeaux (1852 — ), who delights in fantastic Rubens-like figures. The naturalism of Jules Lagae (1802 — ) is even more pronounced, ami Cliarles van der Stappen (1843 — ) may be said to hold the balance between the two. E.XGLAXi). The first representative of the clas- sical reaction in Englaml was .John Flaxman ( 1755-lS2(i), who, with renuirkable purity and fine idealism, excelled in designs and relief, his larger sculptural work being often deficient in technique. Pie was followed by a long series of men much inferior to him, like Westmacott, Chantrey, Bailey, and especially .(ohn tJibsou (d. 1800), the most important of the group. Their work was cold and elegant, and often de- ficient in teeluiique. A new spirit, the reaction against cold classicism, came with .lfrcil Stevens (1817-75), a pupil of Thorwaldsen. who was, however, more infiuenced by Michelangelo than by the antique, and brought life and persimal feeling into English sculpture. .lohn Henry Foley (1818-74), at first classical, in later years became UKjre naturalistic ; other representatives of the transition were J. Edgar Boehm ( 1834-90) and Thomas Woolner (1825-92). who in his later work displayed a higher degree of naturalism. The greatest change, however, has come over British sculpture since 1870. Among the first to show the new tendency were S(nne of the great iminters, especially George F. Watts (1817 — ), who ranks equally high as a sculptor. His work is grand and original in concejition. full and rich in modeling, and broad in treatment. Frederick Leighton ( 18.30-90 1 is more advanced in his few sculptural efforts than in his painting. The change, however, is mainly due to French inllti- ence. especially to Jules Dalou. who was for some years professor in the South Kensington schools. Among those influenced by the French school are Henry Hugh Armstead (1828 — ). George Si- mond's (1844—), and Thomas Brock (1847—), whose work is well balanced and excels in line. Hanio Thornycroft's (1850 — ) work, though mod- ern, represents the reaction of the Greeks against the 'Fleshy ."school' of Carpeaux. Eilward Onslow Ford (1852-1901) did work refined and graceful in form anil charming in sentiment. The great- est influence of the i)resent day in English sculpture is Alfred Gilbert (1854 — ). a very versatile artist, treating with high poetic imagi- nation subjects both dignified and light. He has made much use of goldsmith's work in his art, and his example has been followed by many of the younger artists. Other important sculptors of re-