The Sculpture and Mural Decorations of the Exposition Part 6

The Pioneer Mother Exhibit, Fine Arts Colonnade

The "Pioneer Mother" monument, by Charles Grafly, is a permanent bronze, a tribute by the people of the West to the women who laid the foundation of their welfare. It is to stand in the San Francisco Civic Center, where its masterful simplicity will be more impressive than in this colorful colonnade. It is a true addition to noteworthy American works of art and fully expresses the spirit of this courageous motherhood, tender but strong, adventurous but womanly, enduring but not humble. It has escaped every pitfall of mawkishness, stubbornly refused to descend to mere prettiness, and lived up to the n.o.blest possibilities of its theme. The strong guiding hands, the firmly set feet, the clear, broad brow of the Mother and the uncompromisingly simple, sculpturally pure lines of figure and garments are honest and commanding in beauty. The children, too, are modeled with affectionate sincerity and are a realistic interpretation of childish charm. Oxen skulls, pine cones, leaves and cacti decorate the base; the panels show the old sailing vessel, the Golden Gate and the trans-continental trails. The inscription by Benjamin Ide Wheeler perfectly expresses what the sculptor has portrayed.

Lafayette Exhibit, Fine Arts Rotunda

Paul Wayland Bartlett's "Lafayette," of which this is a plaster copy, should be known and honored by every loyal American. It is considered by many the most successful equestrian statue of modern times and it was the gift of the school children of America to the Republic of France.

The original bronze stands in the Court of the Louvre, the most coveted location in Paris. The position of honor among the sculpture exhibits accorded to this copy, as the central piece in the Temple of Sculpture, gives the impressive beauty of the "Lafayette" the distinction it deserves. Seen at a little distance, with the background of the lagoon, the superb bearing of both horse and rider get their full effect. This interpretation of Lafayette, commanding, heroic, graceful, unselfconscious, his Gallic dash and fire evident but restrained by military and aristocratic control, is stirring and convincing. The upheld sword is a touch of fine artistry. Mr. Bartlett was Chairman for Sculpture of the Exposition Jury of Fine Arts. He has just completed the pedestal heads for the House wing of the Capitol at Washington. His "Dying Lion," exhibited in plaster copy in the Fine Arts garden, has been coupled by critics with the "Wounded Lion" of Rodin.

Thomas Jefferson Exhibit, Fine Arts Rotunda

All the work of the late Karl Bitter bears a peculiar appeal at this time, since he was Chief of Sculpture of the Exposition, was so close personally to many of the men who made its beauty, was so valuable an influence to the art of our nation and left so enn.o.bling a memory as man and as artist. His sustained, faithful and enduring works are well represented in the exhibit galleries by his "Signing of the Louisiana Purchase Treaty," made for the St. Louis Exposition and loaned by that city; his Tappan Memorial from the University of Michigan; his Rockefeller Fountain, and the appealing "Faded Flowers." A medal of honor was awarded to him. Thomas Jefferson was always a sympathetic study to Karl Bitter, who has interpreted that statesman, scholar and patriot in his several capacities. The original of the present statue was made for the University of Virginia; Jefferson said he preferred to be remembered as founder of that inst.i.tution rather than as President of the United States. He is here represented in a moment of meditative leisure.

Lincoln Exhibit, South Approach

Two n.o.ble Lincolns by the great Augustus Saint-Gaudens do honor to the city of Chicago and are distinguished by the t.i.tles "The Standing Lincoln" and "The Seated Lincoln." Both have the homely beauty, greatness and dignity of character that are essential to the presentment of this national inspiration. "The Seated Lincoln" here shown is the original bronze, not a replica. It was loaned, under the protection of heavy insurance, to the Fine Arts Department, and will soon be installed in a Chicago park. It is the property of the Lincoln Memorial Fund, a foundation of $100,000 left by the late John Crerar to commemorate Abraham Lincoln in Chicago. Saint-Gaudens, having made "The Standing Lincoln" with such success, was given the opportunity for a new presentation of this great theme. "The Seated Lincoln" has a soul-stirring expression of figure and countenance; the crumpled shirt, the square-toed shoes, the well-known shawl draped upon the chair, are not more real than the simple greatness of soul that somehow expresses itself throughout.

Earle Dodge Memorial Exhibit, Fine Arts Rotunda

The "Princeton Student" made by Daniel Chester French as the Earle Dodge Memorial, is lent to the Exposition by the trustees of Princeton University. It is this master's expression of the type of young manhood that makes for the winning of respect and enthusiastic friendship and worthy leadership in our modern college life. Full of energy and spirit, the youth steps forward, physically rugged, of athletic prowess and sportsmanly character, intelligent, frank, clearbrowed, fearless and straightforward of gaze, bearing his books with care and ease and draped with the academic gown, symbol of scholastic achievement. To give this figure of young manhood the solemnity of a memorial and still keep it true to the hearty and cheerful vigor it depicts was a notable achievement. The setting in one of the arches of the Rotunda, with the lagoon and the landscape-planting in the background, is admirable. Two great universities have in recent years been graced by Mr. French's work; his "Alma Mater" on the great stairway of the Columbia University Library is one of the art treasures of New York City.

Fountain Foyer, Palace of Fine Arts

This fountain, by Gertrude Vanderbilt Whitney, who made the Fountain of El Dorado for the Exposition, is strikingly different from that work in treatment and character, showing a notable versatility and responsiveness to change in motif. As that was poetically symbolic, this is a ma.s.sive direct work in a more virile and vigorous manner. It shows three well-modeled nudes supporting a bowl heavy with richly laden vines. Its installation in the center of the entrance hall of the Fine Arts Palace is in itself a work of art. The white marble fountain - for this is the original work, loaned by the artist - is cleverly contrasted with vivid green water plants in the bowl; just enough of them and tastefully placed. And in the rim small trees are set, of well-chosen verdure, shape and size. The fountain was awarded a bronze medal.

Wildflower Garden Exhibit, Colonnade

One of the most varied and interesting talents among the younger men of distinction who have exhibited in the Department of Fine Arts is that of Edward Berge of Baltimore. The entire originality and freedom from mannerism with which each subject is met, and the variety of the subjects themselves, are worthy of note, as are also Mr. Berge's singular lightness and fluidity of method. His correctness is apparently unlabored. No small piece has more admirers than this sweet and merry little "Wildflower." A secret of her appeal may lie in the fact that the artist is the father of the model. The little girl, crowned with a wildflower, posed with the pertness of a wayside blossom, her hands extended like pointed leaves, has a roguishness and playful grace that charm. With something of the same humorous whimsy Mr. Berge exhibits a Sundial showing a nude baby, buxom and cuddlesome, embracing a new doll while the old one lies discarded, ill.u.s.trating the legend, "There is no Time like the Present."

The Boy with the Fish Garden Exhibit, Colonnade

Bela Lyon Pratt, widely esteemed for his vital and imposing serious works, of which a splendid collection here exhibited has been awarded a gold medal, has amused himself and all of us with this jolly little garden piece, "The Boy With the Fish." It is a unique bronze, never to be reproduced or copied. Though hundreds of persons have wished to purchase replicas, no one can ever do so, for the owner stipulated with the sculptor never to allow reproduction. The moulds have been destroyed. But no one can stop the joyous memory in many minds of this spirited little elf, riding a turtle, struggling with his slippery fish and having so much fun about the difficult feat. One of Mr. Pratt's more serious works that is attracting the deserved attention of Exposition visitors is "The Whaleman," a detail of his n.o.ble Whaleman's Memorial.

This sculptor has done much to encourage individuality and earnestness among the younger men, not only by example but also in his capacity of instructor in the Boston Museum of Fine Arts.

Young Diana Garden Exhibit, Colonnade

Janet Scudder, an American artist whose work has been as highly honored in France as in her native land, is known chiefly for her poetic and happy expressions of the out-of-door spirit. Her fountains and garden pieces are small and sportive but intensely sincere and never trivial.

She has a pagan sense of natural imagery and a deep feeling for childhood. Her finish is delicate and perfect. The "Young Diana," here ill.u.s.trated, girlish, with singularly natural untrammeled grace - slender, beautiful and novel in conception - was awarded honorable mention in the Paris Salon of 1911. The young G.o.ddess of the chase, the moon and of maidens, is presented as still more of a maid than a G.o.ddess, glad with the freedom of girlhood, unconscious of her Olympian inheritance. Miss Scudder has received the distinction of having one of her fountains purchased by the Metropolitan Museum in New York. This is the Frog Fountain which, loaned by that Museum, appears in the Palace of Fine Arts. Her "Little Lady of the Sea," also here exhibited, received notable consideration in the Paris Salon of 1913. She is the holder of a silver medal awarded by the present Exposition.

Young Pan Garden Exhibit, Colonnade

One of the charms of the Exposition lies in the fact that the long rainless summer and beautiful plant-life of California permit the garden pieces to be displayed out of doors in the setting desired for them by their sculptors. This little Pan of Janet Scudder's, for instance, is far happier in his appropriate ma.s.s of foliage than if he were inside of a gallery. "Young Pan," a garden figure, is witty, elfin, very engaging.

He is a seaside Pan instead of the woodland dweller usually portrayed.

His foot is - rather recklessly one would think, were this not a magical, superhuman being - placed heel-down upon the back of a great crab. A pretty pedestal base, with sea-sh.e.l.l decoration, supports the baby G.o.d. This base, by the way, Miss Scudder attributes as the work of Laurence Grant White. Pan is enjoying the music of the two long pipes he blows-playing one of the unplaced wild lilts of nature, we may be sure.

This sense of enjoyment and his debonair little swagger are festive and delightful. His mischievous gaiety communicates itself to the beholder.

This humorous quality appears in another merry little G.o.d by the same sculptor, her "Flying Cupid," close at hand.

Fighting Boys Garden Exhibit, Colonnade

Another evidence of the charm of outdoor installation is seen in Miss Scudder's Fountain of the Fighting Boys, so beautifully placed, with the waters in actual play, in the Peristyle Walk about the Fine Arts Palace.

The original of this little fountain is owned by the Art Inst.i.tute of Chicago. There can be no doubt that this fight is without rancor; the faces of the cherubic contestants are so gay and good-natured that only the determined little tug of the hair, the business-like pressure of chubby knee upon knee, the uncertain possession of the big fish that is the cause of contention, makes us see that a battle is raging. The boys fight merrily, evidently enjoying both the contest and the downpour of water that complicates it. An unexpected accidental beauty has been added to this and all the Exposition fountains. Some colorful substance in the water that plays upon them has given soft touches of the same rich ochre tone that appears in the columns. This increases the effectiveness and takes away the appearance of boldness or newness, subst.i.tuting a weather-beaten and permanent aspect. When long spires of flowers are in bloom and reflect their beauty in this little fountain pool, the gayety and loveliness of the spot are entrancing.

Duck Baby Garden Exhibit, Colonnade