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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Impressions of the Art at the Panama-Pacific Exposition

Impressions of the Art at the Panama-Pacific Exposition

Brinton, Christian

Paperback

General World History

Currently unavailable to order

ISBN10: 1231205091
ISBN13: 9781231205099
Publisher: General Books
Pages: 26
Weight: 0.15
Height: 0.05 Width: 7.44 Depth: 9.69
Language: English
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1916 Excerpt: ...struggle in piteous futility for sunlight and the flash of green foliage. The intimate relationship between plastic form and nature has been almost wholly neglected, and, in consequence, few of us can be blamed for growing cold and unresponsive to the claims of this noblest and most exalted of all phases of artistic expression. Previous to the Centennial Exhibition of 1876 there was, strictly speaking, no sculpture worthy the appellation in America. While such primitives as William Rush and John Frazee practised their profession with commendable American Section, Panama-Pacific Expoeition, San Francisco THE OUTCAST BY ATTILIO PICCIRILLI integrity of purpose, they were hardly more than ill-equipped craftsmen. Whatever their shortcomings they are, nevertheless, entitled to an ampler measure of consideration than their pretentious successors, Horatio Greenough and Hiram Powers, who espoused the emasculated classicism so much in vogue during the early decades of the last century. Drifting farther and farther from the true Attic spirit, which is essentially concrete, they led the taste of the day into a realm of vapid abstraction. The sense of personality was sacrificed to a smooth, characterless finish. The figures showed no real vitality, and in general conception were the antithesis of that which is inherently sculptural. It was not indeed until our leading artists turned from Rome to Paris, from the immemorial dust of the city by the Tiber to the purple haze which hangs over the Seine, that conditions betrayed substantial improvement. If it was the Paris-trained artists who, during the ensuing interval, made possible the splendid plastic pageant which was such an inspiring feature of the World's Columbian Exposition of 1893, it was likewise certain Paris men...

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