Read Ebook: Sculpture of the Exposition Palaces and Courts Descriptive Notes on the Art of the Statuary at the Panama-Pacific International Exposition San Francisco by James Juliet Helena Lumbard

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This fresh, strong young Sun is about to start on his journey - dawn is soon to break upon the world. With muscles stretched, the wind blowing through his hair, the heavenly joy of the first move expressed upon his face, the vigor of young life pulsating through his body, he will start the chest forward and move those outstretched wings. Let us preserve this glorious figure for our western city. It would so admirably suggest the new light that has been shed upon San Francisco by the Exposition of nineteen hundred and fifteen, as well as the new light occasioned by the opening of the Panama Canal.

Descending Night

Adolph Alexander Weinman, Sculptor

The figure on the page opposite is a beautiful lyric poem. She might be called "A Hymn to the Night." Every line of her figure is musical, every move suggested, rhythmical. Seen at night, she croons you a slumber song. How subtly Mr. Weinman has told you that she comes to fold the world within her wings - to create thru her desire a "still and pulseless world." The muscles are all lax - the head is drooping, the arms are closing in around the face, the wings are folding, the knees are bending - and she too will soon sink to slumber with the world in her arms. What a fine contrast of feeling between the tense young "Sun" and relaxed "Descending Night."

Winter

Furio Piccirilli, Sculptor

Naked Winter stands before you. It is the period of the year when the leaves are of the trees and the bark is splitting. After the activities of autumn man is resting. The fruits have been gathered - the golden apples and the purple grapes - so man's labors have ceased. It is the period of conception. The sower has just cast forth the seed. Mother Earth will nurture the little seed until the cold winter has passed and the warm sunshine comes again to give each clod its "stir of might."

The Portals of El Dorado

Gertrude Vanderbilt Whitney, Sculptor

There was once among the South American tribes a belief that in a certain far-off country lived a king called El Dorado, the Gilded One. He ruled over a region where gold and precious stones were found in abundance. The story influenced a vast number of adventurers who led expeditions to seek the land of golden treasure; but notwithstanding the fact that their searched most carefully and for long periods, they all failed to find it. The idea of the unattainable gave the suggestion to Mrs. Whitney for her fountain. The gold of El Dorado was used as a symbol of all material advantages which we so strongly desire - wealth, power, fame, et cetera.

Panel of the Fountain of El Dorado

Gertrude Vanderbilt Whitney, Sculptor

In the panel are seen men and women in their mad race for the unattainable. Many have had a glimpse of the Gilded One, and are rushing on to pass the mysterious gate behind which the desires of life await them. Some faint by the roadside or stop in their race for the goal to contend or to loiter by the way, but those nearest the El Dorado increase their speed. Beside the gateway that has only just allowed the Gilded One to pass thru are two mortals who have come close to the land of their desires, but only to find the door shut and slaves beside it barring the way. Their strength is expended, their courage gone in the long race for material things.

Youth

Edith Woodman Burroughs, Sculptor

A little figure of innocence and purity in all her virgin loveliness stands before you - the incarnation of all that is fresh and wholesome. She is only a slip of a girl and yet the dignity of her carriage betokens hopeful days for her womanhood later on. Her form is exquisitely moulded. Those little bony shoulders will all too soon fill out and she will bloom into womanhood. The chief charm of this little lady is her simplicity. Mrs. Burroughs uses such beauty of line, such sweet language to tell her story.

The American Pioneer

Solon Hamilton Borglum, Sculptor

Erect, dignified, reflecting on the things that have been, the American Pioneer appears before us, reminding us that to him should be given the glory for the great achievements that have been made on the American Continent. He it was who blazed the trail that others might follow. He endured the hardships, carved the way across the continent, and made it possible for us of today to advance thru his lead. All hail to the white-headed, noble old pioneer who, with gun and axe, pushed his way thru the wilderness; whose gaze was always upward and onward, and whose courage was unfaltering!

Cortez

Charles Niehaus Sculptor

One of the finest equestrians at the Exposition is Cortez by Charles Niehaus. As we look upon the rider on his sumptuously caparisoned horse we are convinced that he is every inch a conqueror. He is represented absolutely motionless - his feet in the stirrups - and yet you feel that he is a man of tremendous action. You also feel his fine reserve, and yet how spirited he is! This is that intrepid spirit that desired the land of the Montezumas. After determined invasions he conquered the country in the early part of the sixteenth century.

The End of the Trail

"The trail is lost, the path is hid, and winds that blow from out the ages sweep me on to that chill borderland where Time's spent sands engulf lost peoples and lost trails."

- Marion Manville Pope.

One of the strongest works of the Exposition in its intense pathos is this conception of the end of the Indian race. Over the country the Indian has ridden for many a weary day, following the long trail that leads across a continent. A blizzard is on. He has peered to right and left, but alas! the trail is gone and only despair is his. So has it been with the Indian. His trail is now lost and on the edge of the continent he finds himself almost annihilated.

Panel from the Column of Progress

The four panels on the Column of Progress show the different mental conditions of men on their onward march thru life. In the center of the panel stands the man of inspiration - the eagle, bird of inspiration, perched on his shoulder. He goes thru life with upturned face, depending upon his God for strength. Beside him on the right is seen the warrior who wins his way by sheer physical strength. On his left stands the ascetic philosopher, who through constant vigils "hath a lean and hungry look." To the extreme left falteringly steps the man who fears the unknown future; his wife and mother sustain him by spiritual cheer. The figures are in very high relief so that they seem almost human as you gaze upon them.

The Feast of the Sacrifice

Albert Jaegers, Sculptor

In your imagination you see as of old the harvest procession marching around the fields. It is led by the great bulls for the sacrifice to the gods, that the harvest may yield bounteously. On either side of the bulls are the youths and the maids carrying flowered festoons. The long procession passes on and halts before the altar where the bull being sacrificed, the head with its festoons is placed upon the side of the altar. A most decorative group is this Feast of the Sacrifice - brute strength and the graceful form of the maid making a splendid play of line that most satisfactorily charms the eye.

The Joy of Living

Paul Manship, Sculptor

With perfect abandon come these maidens into the Court of the Universe, carrying their festoons of wild roses. They bring to the great festival joy and love of life - a telling addition to all that has been expressed in the court. They savor of old Greek days, these maidens of archaic hair and zigzag draperies. Paul Manship loves the classic which brings with it much of free expression, and he has adopted the archaic style that recalls the figures such as are seen on old Greek vases. No one is more joyous among the sculptors than this man. He has a rarely beautiful gift from the gods.

The Man With the Pick

Ralph Stackpole, Sculptor

An ordinary workman with his pick - and yet how impressed you are with his sincerity. In him is asserted the dignity, the usefulness, the nobility of all labor. He helps to turn the wheels of trade, to further the interests of the world. He works patiently day by day, notwithstanding the fact that those above him reap the benefits. Mr. Stackpole has been most happy in his expression. The broad treatment is thoroughly suitable to just such work as this. There are no accessories employed. The work is absolutely direct.

The Kneeling Figure

Ralph Stackpole, Sculptor

With the love for all that is beautiful in life, in what God has made and in what man has fashioned, the grateful devotee has mounted the steps that lead to the altar at which she offers up her devotion. She bows her head in humble reverence to her God for all that He has given her to enjoy - all that is good, pure, true, beautiful, uplifting. And we onlookers, too, would join the moving throng that bend the knees at the altar of beauty and truth. Across the lagoon we gaze upon the great stillness, and we with her murmur, "Father, I thank Thee."

The Pegasus Panel

Bruno Louis Zimm

There are no reliefs more classically inspiring than are these superb reliefs by Bruno Zimm. The one on the opposite page is of great beauty. The young artist has caught the inspiration of his art - he has bridled Pegasus. Beside him march the Arts - Literature, holding aloft her symbol, the lamp; Sculpture extending in front of her the statuette, a devotee admiring, and Music leading the procession, stilling ever the beasts - a veritable Orpheus. Mr. Zimm has been most successful in the fine working out of his subject in a classical way, for the style of relief work accords well in feeling with the superb classic architecture it decorates.

Primitive Man

Albert Weinert, Sculptor

Long ages past I lived and gave no thought of time or doing aught save going as my fancy took me. Ofttimes I took my bow and arrow and hide me to the mighty forests where herds of Nature's roaming kind served as my food when I required it. Again I followed to the sea where, casting in my net, I drew up myriads of the finny tribe to satisfy my appetite. Oft drew I up such numbers vast that having naught to do but to amuse myself I fed my extra fish the friendly pelican that had become companion in my walks along the shore. A simple man was I with not too many thoughts and only few desires. My body was my foremost daily thought, and little cared I for aught else besides.

Thought

Albert Weinert, Sculptor

The ages have passed on and I more thoughtful have become, for mighty revolutions have gone on within my frame. My mind, a once too puny thing, has year by year grown stronger, until to-day I realize that feeble is my flesh - a thing to be abhorred, and mind does rule above all else. My very face which once was rude and lacked that fire that strong intelligence does give now has a steady purpose and fine spirit writ upon it. It is as if my flesh of old had dropped and like a cast-off cloak had fallen at my feet. Then come those days when tumult as of yore is waged within me, and then I grasp my new-made self and yearn to hold my old position within the body walls. Thought more strong than flesh does wield its strength and back I crouch beneath the feet to stay till Thought is off his guard again.

Victory

Louis Ulrich, Sculptor

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