Sculpture of the Exposition Palaces and Courts - Juliet James

Sculpture of the Exposition Palaces and Courts

Descriptive Notes on the
Art of the Statuary at the
Panama-Pacific International Exposition
San Francisco

By Juliet James

San Francisco
H. S. Crocker Company
Publishers

Copyright 1915
H. S. Crocker Company
San Francisco

To A. Stirling Calder who has so ably managed the execution of the sculpture, and to the vast body of sculptors and their workmen who have given the world such inspiration with their splendid work, this book is dedicated.

Foreword

hat accents itself in the mind of the layman who makes even a cursory study of the sculptors and their works at the Panama-Pacific International Exposition is the fine, inspiring sincerity and uplift that each man brings to his work. One cannot be a great sculptor otherwise.

The sculptor's work calls for steadfastness of purpose through long years of study, acute observation, the highest standards, fine intellectual ability and above all a decided universalism - otherwise the world soon passes him by.

It is astonishing to see brought together the work of so many really great sculptors. America has a very large number of talented men expressing themselves on the plastic side - and a few geniuses.

The Exposition of 1915 has given the world the opportunity of seeing the purposeful heights to which these men have climbed.

We have today real American sculpture - work that savors of American soil - a splendid national expression.

Never before have so many remarkable works been brought together; and American sculpture is only in its infancy - born, one might say, after the Centennial Exposition of 1876.

The wholesome part of it all is that men and women are working independently in their expressions. We do not see that effect here of one man trying to fit himself to another man's clothing. The work is all distinctly individual. This individualism for any art is a hopeful outlook.

The sculpture has vitalized the whole marvelous Exposition. It is not an accessory, as has been the sculpture of previous Expositions, but it goes hand in hand with the architecture, poignantly existing for its own sake and adding greatly to the decorative architectural effects. In many cases the architecture is only the background or often only a pedestal for the figure or group, pregnant with spirit and meaning.

Those who have the city's growth at heart should see to it that these men of brain and skill and inspiration are employed to help beautify the commercial centers, the parks, the boulevards of our cities.

We need the fine lessons of beauty and uplift around us.

We beautify our houses and spend very little time in them. Why not beautify our outside world where we spend the bulk of our time?

We, a pleasure-loving people, are devoting more time every year to outside life. Would it not be a thorough joy to the most prosaic of us to have our cities beautified with inspiring sculpture?

We do a great deal in the line of horticultural beautifying - we could do far more - but how little we have done with one of the most meaningful and stimulating of the arts.

Let us see to it, in San Francisco at least, that a few of these works are made permanent.

Take as an example James Earle Fraser's "End of the Trail." Imagine the effect of that fine work silhouetted against the sky out near Fort Point, on a western headland, with the animal's head toward the sea, so that it would be evident to the onlooker that the Indian had reached the very end of the trail. It would play a wonderful part in the beauty of the landscape.

Or take Edith Woodman Burroughs' "Youth." What a delight a permanent reproduction of that fountain would be if placed against the side of one of the green hills out at Golden Gate Park - say near the Children's Playground - with a pool at its base. It is only by concerted action that we will ever get these works among us. Who is going to take the lead?

The Contents

Introduction
The Fountain of Energy
The Mother of Tomorrow
The Nations of the Occident
The Nations of the Orient
The Alaskan
The Lama
The Genius of Creation
The Rising Sun
Descending Night
Winter
The Portals of El Dorado
Panel of the Fountain of El Dorado
Youth
The American Pioneer
Cortez
The End of the Trail
Panel from the Column of Progress
The Feast of the Sacrifice
The Joy of Living
The Man with the Pick
The Kneeling Figure
The Pegasus Panel
Primitive Man
Thought
Victory
The Priestess of Culture
The Adventurous Bowman
Pan
Air
The Signs of the Zodiac
The Fountain of Ceres
The Survival of the Fittest
Earth
Wildflower
Biographies of Sculptors
Sculpture Around the Fine Arts Lagoon

The Illustrations

The Fountain of Energy - A. Stirling Calder, Sculptor
The Mother of Tomorrow - A. Stirling Calder, Sculptor
The Nations of the Occident - A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors
The Nations of the Orient - A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors
The Alaskan - Frederick Roth, Sculptor
The Lama - Frederick Roth, Sculptor
The Genius of Creation - Daniel Chester French, Sculptor
The Rising Sun - Adolph Alexander Weinman, Sculptor
Descending Night - Adolph Alexander Weinman, Sculptor
Winter - Furio Piccirilli, Sculptor
The Portals of El Dorado - Gertrude Vanderbilt Whitney, Sculptor
Panel of the Fountain of El Dorado - Gertrude Vanderbilt Whitney, Sculptor
Youth - Edith Woodman Burroughs, Sculptor
The American Pioneer - Solon Hamilton Borglum, Sculptor
Cortez - Charles Niehaus, Sculptor
The End of the Trail - James Earle Fraser, Sculptor
Panel from the Column of Progress - Isidore Konti, Sculptor
The Feast of the Sacrifice - Albert Jaeger, Sculptor
The Joy of Living - Paul Manship, Sculptor
The Man with the Pick - Ralph Stackpole, Sculptor
The Kneeling Figure - Ralph Stackpole, Sculptor
The Pegasus Panel - Bruno Louis Zimm, Sculptor
Primitive Man - Albert Weinert, Sculptor
Thought - Albert Weinert, Sculptor
Victory - Louis Ulrich, Sculptor
The Priestess of Culture - Herbert Adams, Sculptor
The Adventurous Bowman - Herman A. MacNeil, Sculptor
Pan - Sherry Fry, Sculptor
Air - Robert Ingersoll Aitken, Sculptor
The Signs of the Zodiac - Herman A. MacNeil, Sculptor
The Fountain of Ceres - Evelyn Beatrice Longman, Sculptor
The Survival of the Fittest - Robert Ingersoll Aitken, Sculptor
Earth - Robert Ingersoll Aitken, Sculptor
Wildflower - Edward Berge, Sculptor

Sculpture of the Exposition Palaces and Courts

"The influence of sculpture is far reaching. The mind that loves this art and understands its language will more and more insist on a certain order and decorum in visual life. It opens an avenue for the expression of aesthetic enjoyment somewhere between poetry and music and akin to drama. - Arthur Hoeber

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Sculpture of the Exposition Palaces and Courts Descriptive Notes on the Art of the Statuary at the Panama-Pacific International Exposition San Francisco By Juliet James San Francisco H. S. Crocker Company Publishers Copyright 1915 H. S. Crocker Company San Francisco To A. Stirling Calder who has so ably managed the execution of the sculpture, and to the vast body of sculptors and their workmen who have given the world such inspiration with their splendid work, this book is dedicated. Foreword hat accents itself in the mind of the layman who makes even a cursory study of the sculptors and their works at the Panama-Pacific International Exposition is the fine, inspiring sincerity and uplift that each man brings to his work. One cannot be a great sculptor otherwise. The sculptor's work calls for steadfastness of purpose through long years of study, acute observation, the highest standards, fine intellectual ability and above all a decided universalism - otherwise the world soon passes him by. It is astonishing to see brought together the work of so many really great sculptors. America has a very large number of talented men expressing themselves on the plastic side - and a few geniuses. The Exposition of 1915 has given the world the opportunity of seeing the purposeful heights to which these men have climbed. We have today real American sculpture - work that savors of American soil - a splendid national expression. Never before have so many remarkable works been brought together; and American sculpture is only in its infancy - born, one might say, after the Centennial Exposition of 1876. The wholesome part of it all is that men and women are working independently in their expressions. We do not see that effect here of one man trying to fit himself to another man's clothing. The work is all distinctly individual. This individualism for any art is a hopeful outlook. The sculpture has vitalized the whole marvelous Exposition. It is not an accessory, as has been the sculpture of previous Expositions, but it goes hand in hand with the architecture, poignantly existing for its own sake and adding greatly to the decorative architectural effects. In many cases the architecture is only the background or often only a pedestal for the figure or group, pregnant with spirit and meaning. Those who have the city's growth at heart should see to it that these men of brain and skill and inspiration are employed to help beautify the commercial centers, the parks, the boulevards of our cities. We need the fine lessons of beauty and uplift around us. We beautify our houses and spend very little time in them. Why not beautify our outside world where we spend the bulk of our time? We, a pleasure-loving people, are devoting more time every year to outside life. Would it not be a thorough joy to the most prosaic of us to have our cities beautified with inspiring sculpture? We do a great deal in the line of horticultural beautifying - we could do far more - but how little we have done with one of the most meaningful and stimulating of the arts. Let us see to it, in San Francisco at least, that a few of these works are made permanent. Take as an example James Earle Fraser's "End of the Trail." Imagine the effect of that fine work silhouetted against the sky out near Fort Point, on a western headland, with the animal's head toward the sea, so that it would be evident to the onlooker that the Indian had reached the very end of the trail. It would play a wonderful part in the beauty of the landscape. Or take Edith Woodman Burroughs' "Youth." What a delight a permanent reproduction of that fountain would be if placed against the side of one of the green hills out at Golden Gate Park - say near the Children's Playground - with a pool at its base. It is only by concerted action that we will ever get these works among us. Who is going to take the lead? The Contents Introduction The Fountain of Energy The Mother of Tomorrow The Nations of the Occident The Nations of the Orient The Alaskan The Lama The Genius of Creation The Rising Sun Descending Night Winter The Portals of El Dorado Panel of the Fountain of El Dorado Youth The American Pioneer Cortez The End of the Trail Panel from the Column of Progress The Feast of the Sacrifice The Joy of Living The Man with the Pick The Kneeling Figure The Pegasus Panel Primitive Man Thought Victory The Priestess of Culture The Adventurous Bowman Pan Air The Signs of the Zodiac The Fountain of Ceres The Survival of the Fittest Earth Wildflower Biographies of Sculptors Sculpture Around the Fine Arts Lagoon The Illustrations The Fountain of Energy - A. Stirling Calder, Sculptor The Mother of Tomorrow - A. Stirling Calder, Sculptor The Nations of the Occident - A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors The Nations of the Orient - A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors The Alaskan - Frederick Roth, Sculptor The Lama - Frederick Roth, Sculptor The Genius of Creation - Daniel Chester French, Sculptor The Rising Sun - Adolph Alexander Weinman, Sculptor Descending Night - Adolph Alexander Weinman, Sculptor Winter - Furio Piccirilli, Sculptor The Portals of El Dorado - Gertrude Vanderbilt Whitney, Sculptor Panel of the Fountain of El Dorado - Gertrude Vanderbilt Whitney, Sculptor Youth - Edith Woodman Burroughs, Sculptor The American Pioneer - Solon Hamilton Borglum, Sculptor Cortez - Charles Niehaus, Sculptor The End of the Trail - James Earle Fraser, Sculptor Panel from the Column of Progress - Isidore Konti, Sculptor The Feast of the Sacrifice - Albert Jaeger, Sculptor The Joy of Living - Paul Manship, Sculptor The Man with the Pick - Ralph Stackpole, Sculptor The Kneeling Figure - Ralph Stackpole, Sculptor The Pegasus Panel - Bruno Louis Zimm, Sculptor Primitive Man - Albert Weinert, Sculptor Thought - Albert Weinert, Sculptor Victory - Louis Ulrich, Sculptor The Priestess of Culture - Herbert Adams, Sculptor The Adventurous Bowman - Herman A. MacNeil, Sculptor Pan - Sherry Fry, Sculptor Air - Robert Ingersoll Aitken, Sculptor The Signs of the Zodiac - Herman A. MacNeil, Sculptor The Fountain of Ceres - Evelyn Beatrice Longman, Sculptor The Survival of the Fittest - Robert Ingersoll Aitken, Sculptor Earth - Robert Ingersoll Aitken, Sculptor Wildflower - Edward Berge, Sculptor Sculpture of the Exposition Palaces and Courts "The influence of sculpture is far reaching. The mind that loves this art and understands its language will more and more insist on a certain order and decorum in visual life. It opens an avenue for the expression of aesthetic enjoyment somewhere between poetry and music and akin to drama. - Arthur Hoeber