| Show 1 J 1 New of Sculpture by I vii Women I men I Illustrating the Eternal Quest I f I r b IF I for or Beauty of Proportion 0 in 0 the D Delineation l o of the Feminine Form Y ti i t t ti h p C til i r t rf fi ft- ft j 1 f 1 f 1 r S t j p A. A j 4 Io J fh f- f h f s i ii I I I 1 I I I I I I I I I t I I r 1 I-I- I I I 1 I I 7 I 1 I i- i I I I 1 I I d 1 1 w. w 1 i I- I 1 I I-I I I-I I 1 r i iI I I J I I I I I f I I I I 1 I I I I I I I I I I 1 t J. J 1 1 r I I I l j- j t 1 I I I I I I t I 1 t t I I I I I I I I I I I I I L 1 I 11 l I-l I 1 I 1 1 1 I I r t-I t I r 1 I- I i. i I i 1 I r I fit 13 E i 1 l 1 I 1 I I I f I II I o t I I I I I 1 I 1 1 I 1 I I i J 1 I I I It u 7 1 t I 1 1 I I I I I I I r w I I I I I IJ I II t I I 1 r k- k t I 1 I. I t.-I- t. J I 1 I 1 l. l I I-I- I Z I I I Ii I I J I I I II II I l'- l' I 1 I f 1 I I 1 11 I I i I I I 1 I 1 I I I 1 I I t I-t 11 I I I I I I I I I I I C I 1 I-I I I I 1 7 t I I 1 I I I 1 I I I I I I I I 1 I I I LT I I I 1 1 I- I t- t t-I.-I t 1 I r I I I. I b 1 1 1 I. I-I. I I I. I t I 1 I 1 1 1 Three Not Notable bl 1 a e t-I t I 1 I 1 I II Ir J I-J- I tl 1 I- I I I. I I I 1 1 r 1 I II II I I I 1 I I I. I l I I I I 1 I I I-i- I I I I I I 1 I I t 1 1 7 I I S t U e tt es b I I Zt I I I y I I 1 t. t I I 1 I 1 I I I J I I. I 1 I I 1 t. t I I I I I 1 I I Id t I I I I I r rI I 1 1 I I- I I I I I I I I I t 1 1 I I I t- t I K Katherine a th enne B Beecher eec h er S- S St Stetson t t I 1 I I I Ir- Ir I I leson I i- i I I- I I I- I 1 I- I I t I 1 a 1 rr I r i I I j I I I I l I-l- f I i I II-I- I I I I I I I II r. I I k-I k i 1 I I I I 1 j I I I 1 1 I I I i- i 1 I i 1 I- I I-i- I I. I-I. Ir J 7 4 t- t i I Which Have Aroused Much J I I I I 1 f 1 I I-I- I I l f-l- I i I I-I I 1 I l t J j mil t I I PI P- I I r I tiP J. J J t f t I I I I t J I l I I t I. f- f I I I I I J t 1 u I l 1 I I I-I I 1 I- I U r I. I I I 1 I I I I i I. I I- I I Interest in N New York It I 1 1 1 I I i i 1 I I ew or i- i ir I I 1 I 1 I I I r f I I I I I I. I I I- I I f I I 1 I. I I I IX t y I II II I- I I I I I I. I I I I 1 r I I Ie I. I j I I I I J 7 H r. r U t A ai 1 v t it t s X 4 y 1 ti zArr GhQ 1 I I arch y b Id al' al t sir rr p tI t I y 41 p pT T 5 Y v 1 By Eleanor Ma Mason o 7 T a n recent lecent part display Jn to Chicago Chicago Chi AT A c cago co o one painter asked another an other Has the theory o ol or f beauty in the inure figure really changed change d materially In the tho last lat 20 years eara The question seemed to be ho prompted prompt ed d b by honest doubt ou t. t The in individual ivi ual t answer is not important The controversy controversy con which tho the question started 1 was quite typical of such situations because questions of beauty are necessarily y questions of or opinion and there is no en end to opinion When another Venus de dc Milo MHo was vas at one of the coH colleges eg she sh she will be heard from in the au au- CUllin athletic cen contests there est there thereas was as the 1 usual usual reference e to the the measurements measure measure- ments of the Loin Louvres Louvre's re's res famous beauty The original of oC the Venus do de e Milo Mijo b by bJ bythe the fhe way Is to nine feet high an and measurements meas must he stan standardised ar at day 3 3 o feet 1 7 to she dive elyea a basis of comi com corn i parison On account of the draperies many of the me measurements must be purely theoretical 1 I The fact is that an actual Venus I de Milo figure would not be bf I very ver- liI highly esteemed in flesh and blood As 3 more marc than one artist has po Out out the beauty of the Venus Is not notOn notOn notOn On the Left Above a Bronze Odalisque by Edward Field Sanford Below Guts Gutson on Bor Borglum thin in His Stud Studio o. o I If l t J i t I r v I r f i t r S P vT Z 1 r I U r II r r 1 c ci cw w i- i y l h s ti n f 4 4 F r ns I a I Conflicting Theories e of the Perfect Figure 1 Venus onus de Milo 1110 reduced from Average o of the Average A b measurements from the original which is 9 feet high typical Athletic Girl i ideal eal quoted by hy modern sculptors 5 ti It 7 j in Height s o rt ft 7 j in Height r 5 ft 7 j In 13 is In r 12 4 in Ned 1 12 In Sho 30 9 in Shoulders Shou Ci tn in n. n Shoulders 3 38 In Bust 31 In Dust Bust 25 Iii In Bust nult r Z-I Z In ti y r. r I In 11 tol nisi t. t 26 s S In 26 25 In Hips In lIp 47 J In i. i In Wrist f. f fiU I In hi t 7 j n in in Wrist G C Ci In lu Thigh 21 In Th h. h s. s l. a 11 22 2 in in ThIgh I. I 21 1 InH In e. e r c In Calf 11 1 In Calf 14 H In Ankle Ankie SI S' SUn In Ankle Anile n lc 9 S In Ankle S Sin In i in her literal but In qu quail ll tics tics tics' of or serenity and dF nit nit- which cannot be he into 1 Into ft figures o or proportion Iou rIm Venus Is 13 abo abott it eight Ight heads aLl high th that t is is about eight times as high as ag the tho depth of or ornel her nel head A 1 woman eight heady heads 3 high must mint he bc extremely tall or have a aery avery er very ery small heal head en Seven heads is a fair a average crage and despite all theories and nd aside from Crom fashion drawings which are aie made to exploit clothes the mo modern ern artist either in painting or sculpture chooses closer to set seven se en heads than to eight For other reasons the Venus de deMilo deMilo Milo Iilo is far Car from the mod modem r modern 1 d. d em ern i ideal cal not to sp speak 31 of oC the modern mod ern eat fact If IC you jou ask the sculptor of ot today as to ideal Cm feminine beauty you jou are arc likely likely like his iris her tin im- ly h lo to find whatever whale o 0 e ausner anaver that a compromise compromis e i is t being boing mud mad actual beauty leanty as s It 8 s end nd purely lr theoretical l Ideals ls us s these l ideals als fluctuate from t time timo to 0 o time lime cu arc uro likely to Rn d that the lithe figure ia la popular th that the so called athletic figure figuie is 13 avoided avoid vold cd ed for Its exaggerations of arlt y while v It is followed for its energetic en en- cr emetic lines lIns an and that the product prod Is is' touched by br mc modern ern notions of or beauty as that thal beauty is visible Judged by bv ills his work Gutson Borglum Borg Borg- turn lam certainly prefers a fi figure ure nearer to the Veune of the Vatican than to the Venus do dc Milo llIo All of Mr Ir Borglum Borglum's Borg Borg- lum's lums figures are not so sen slender er as that upon which he is at work In the Maiden of the Roman Campagna I I I t a I 1 I I i i I 1 Albin Much Discussed Discussed I I I. I I I I I I I. I I t t St Sty tue t ue I 1 I I I r L. L 1 I I L I If I I I v S I I I 1 r f I 1 j I J I. J I I t I I I t I r I t t-I t I I i I I J t tI I I I II I 44 I 1 r 11 I jr 1 1 I-I I I I I II II I I II I I I II I 1 I I II I i I I I 1 1 1 1 I I I I I 1 I I I I 1 1 I I 1 1 1 I I I 1 I 1 1 I I II I-I I r- r rI I f I I 1 l I I 1 I. I I I I t I I I I I t i f i 1 I 1 1 l I l. l I 1 I I I 7 III-I III r I I-I-I I I 1 I I I. I I I 1 I 1 1 1 I 1 I i 4 I I I t I I I I I 1 I- I 1 I- I I-i I I I 1 I Ip l I I r f t 4 r 11 I 1 I I II I I r I I I 1 1 1 I. I 1 I I 1 L.-I L. I I I J I I i J I I II f 1 I I I II I I I. I I-I I t r I J I I 1 I I II I I i i iI I I- I I l'- l' I i t I l I i 1 I r I I t I I- I 5 i I- I I-i I I I I I 1 I-I-I I j I I I t I 1 I 4 1 t I U 1 y n C r t tr r 1 1 rt I A I 1 I I iN t I i l picture shown on this pane page but hat his disposition is not to figures fi A A. A Stewart Calder Edwar Edward Field Meld Sonford Son San ford foal and nd many other bo br cited Ly lr ry sl e exemplifying 1 I I I In a n modem theory 0 of r sup i I 7 7 I i nl grace I I I i-I-I i I T I I It If you ou made the rea real realistic 11 1 I 1 1 I I I experiment of or Tana fan Can I Yi I I I 1 eying a E fi figu fig fig- I I I 1 clothed lot h d W j I u 11 pre re rea as 5 C e we C f decide that Albin Al AI Ali I I fr bin Mal Maiden deni o of f t I h n A Roman Homan Cant Cam Campagna 1 I tl patina na is too plump to to I f y A t be he f fashionable though thought l f 4 t the 11 are I L- L tt a proportions a r e J 1 charmingly adapted t to toa o 0 oa tt a piece of sculpture set setting E 3 i f x t ting forth a n classical classic I r. r conception i I t Women sculptors ors show shovel I t f r t a ke keen n sense of oC th the tr T mo modern modem spirit A r recent re rc- 1 1 J f cent ex exhibition h l hit ion of ot ff rI j K Katherine Deecher Beecher Stetsons Stetson's Stet iy y II SOil sons son's S work ma made e a not notable no- no I I t table a b l I e impression Jn in 1 ew v e w 1 orn Miss lIss Stet Stet- c r Jon Is Js one of ot the rising 4 stars star's In the I exacting profession of sculpture with a lively Jivey and effective effective decorative sense which she has conspicuously shown in painting Among the most charming figures In her hel studio on Fifty fifth fifth street New three dancing like dryad statuettes which have ha already attracted attention In exhibitions They Ther emphasize a point that bears significantly on all modern Interpretations interpolations of the femininity the point that modern woman whatever cr her typo trpo cast Is a n free tree spirit not merel merely a statuesque theor theory Is It not possible to tb trace tiace In the sculpture of oC to today ay a strong influence from the later ater Interest In the danCe Shall there be so 60 man many schools of oC ph physical expression and no reflective fictive Uve sl sign n in the art of ot the same Bame period This Js Is no more mon likely than that feminism l 1 in m nits i Its t s- s highest J h est forms Corms I i j I I I I I IT T re ik j 1 r should fail fall to Impress Itself on other phases of the sculptors sculptor's art Motherhood Motherhood Mother Mother- hood labor the co responses re rt of or war time arc are all leaving their marls marks on the art that Is endeavoring 01 oring ing with so many interesting results results re re- suits to the emotions and the dreams of the time I II I I I-I I I I j I I- I I-I I I II I 1 r J i I 4 i iI iI I I II I- I I. I I I- I I I r f-r fp I I-I I I I Ii I I 1 i I I I I II I f 4 I I I II II I- I I I I I sf r ti I ati Z n f- f f 1 r I t I izy r 1 t f fr r I I I t x y I 1 J 1 t 01 r 1 4 I 4 p. p f ff j q a f SI M r r it A A. Stewart Calder at Work Vork on or n Figure for tho the Depew tJ b Fountain Below Miss l Katherine rip Beecher Stetson in Her Studio S 4 tt w I wr P t TG II i 4 S. S 4 S'S on 1 y y |
