Page 22 - Studio International - January 1968
P. 22

Important developments in the arts sometimes seem to  Recent American sculpture is bidding for the vanguard.
                               spread by contagion. Social, technological, and economic   This is the more surprising when one considers how
                               conditions need only be right, like the factors of epidemic,  impoverished American sculpture was in the nineteenth
                               except that in the case of the arts—by my analogy—some-  century, and how derivative, banal, eccentric, or foreign-
                               thing dormant or moribund is brought unexpectedly to  dominated it has been for most, so far, of the twentieth.
                               life. How else explain the sudden, massive commitment  Twenty-one years after Daumier sculpted  Le Dégoût
                               to sculpture now taking place in the United States?   Personnifié  (1830-32), his sophisticated portrait bust of
                                I am not suggesting that American sculpture is a wholly  Senator Fuchard, and seventeen years after Francois
                               new thing, though it is new enough in most ways. If one  Rude completed La Marseillaise (1833-6) for the Arc de
                               gives emphasis to Americanness, and means attitude or  Triomphe, the American Clark Mills produced his
                               formal interest rather than subject matter or proven-  equestrian statue of Andrew Jackson (1853) : it was the
                               ance, what is happening in the States today declares for  first in the country, and a matter for special congratula-
                               newness where it counts. Innovation is not at issue, but  tions because the artist himself had never seen such a
                               the ability to marshal certain insights, techniques, and  statue before. More typical of the nineteenth century
                               forces in the service of expressive or aesthetic goals, even  was, for instance, the expatriate American sculptor
                               of moral ones. Recent sculptural developments in the  William Wetmore Story, who set up a studio in Rome and
                               United States show perhaps the beginnings of a national  presumably made his Cleopatras and Sibyls next to his
       Bernard Rosenthal
      End over end 1967        style, but one that is unparochial, unprovincial, and  George Peabodys and Professor Henrys; or Randolph
       corten steel            capable of delivering yet another international challenge.   Rogers, another Roman by adoption, who benefitted
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