Show f STORIES ABOUT UTAH ARTISTS Conducted Weekly by Ogden Art Ar S Society SOWN SOLON cOLO AND um IDS HIS Until Borglum's fingers had found their way to te clay he had ben been groping In tho the light half of unrealized purpose Now however he discovered at one stride the kInd of subject nearest to his heart and the method of ot best to his experience and tem tm temperament temperament For his hie hi exp experience had been of tact fact facts It t Is true from which tn In the aftermath of ot m memory mory his temperament was to extract their and sentiment but In the tho first place facts of the tho most direct and vigorous form The Th subtitles to which painting better lends It- It itself It Itself self were outside the habit of ot his mind whereat whereas the tangible shape and more simple ne l of sculpture exactly fitted hl his need HI He had reached It through the same ams natural unpremeditated growth groth gro th that had characterized aU all his development Such kind dt df ro lh is ls perhaps only pos possible to one of ot whose boyhood and ear ear- early early ear early ly manhood hn have ha been spent inthe In inthe the laigo largo vacancy of nature and the natural life lite To those aho ho hoare are arc bred within the crowded cro ded and con conscious clous ch of ot cities the thed d desiro lre of ot being an artist will p come earner It an the experiences of life lite from the first will shape Itself l more definitely definitely and In Its course conform to exIsting opportunities s of ot Instruction tion While still Immature In char char- character actor acter and manhood the tho student will willbe 11 be t I lurf Urt un through the mould of a s ma- ma mature mature ma mature ture system which will turn him out at best bett an Inexperienced elo- elo e- e epert e epert pert pert But with Borglum It was wu other other- otherwise wise Ise The experience hare pre pre- preceded pre preceded ceded the pertness e-pertness hid dad the lat lat- latter latter lat latter ter Is not such as the schools school can teach tach or p pos should try to teach His groups ha bare ha e little of the ordered arrangement of tra- tra tradItional tra traditional composition co nor doe does the modelling show v facile skill or ele- ele elegant elegant ele elegant gant refinement His Hla Hl work in- in indeed In Indeed deed Is much more an expression ot of nature than of art the frank expression of a R natu natu- natural natural ral ra artist giving utterance to the of ot his thoughts He Ho ac- ac acknowledges ac acknowledges kno ledges with gratitude the great assistance that he be receIved from Mr Ir and when he wont to Paris he be enjoyed the crit critical I ical encouragement ement of ot and Gaudens I Saint Gaud Saint Saint-Gaudens ens but for tor the rest he be l Is taught self His visit to Par Par- ParIs Paris Parts Is ts lengthened lena into a a sojourn of four years during which he took a short course of study of the fig fig- figure figure fig figure ure at Jullens academy and fre tre frequented the Louvre Loure and Luxem Luxem- Luxembourg Luxembourg bourg otherwise keeping very ery much to his studio drawing In- In inspiration In Inspiration from the memory of ot his own experiences and dIscoverIng for tor himself a technique that should give substance to his hie Ideas So Borglum's work does not readily line up with mth that of other modern sculptors In Its disregard disregard Bard gard of symmetrical composition In the tho appearance of pea pas pas pas- passages passages sages left lert suggestively In la the rough and In the vivid naturalness that characterises It wo we may for a moment mo- mo moment mo moment ment fancy tancy that we detect the In- In In Influence fluence of Rodin Yet Tet It shows mote more of ot theatter the letters atter latt r feeling for subtlety of ot modelling and by com com- comparison comparison comparison parison la Is crude moreo er the poInt of ot view of ot each Is widely dif dif- dif different ferent frent Is Ia profoundly ana ana- analytical and Introspective at nt the seine time Borglum's more spon spon- spontaneous spontaneous spontaneous and ln Instinctive aiming to Interpret In II a vigorous ensemble the vivid hid Impression of an objective tact fact Again In la breadth of hand handling ling and In knowledge of animal structure and movement we might compare him aith Bayre only to find ho however ever ever that the latter far excels him In nobility of line and mass and falls as far tar behind him himIn himIn himIn In the expression of ot sentiment For Borgum's work r In a remarkable degree the sentiment which comes of Intimate habitual companionship He does not on the one hand Invest his animals with any sentimentality sentimental sentimental sentimental- It ity or on the other look at them from the outside standpoint of the hunter or otherwise other observant stu- stu student student stu student dent He lie ha has Into the ac- ac actual actual ac sentient past put which they play I I In the life they share haro with the man Hence Honce the tho sentiment that his v eals reseals re Is most moat affecting I doubt Indeed It If any sculptor of animals has even ven represented aith w Ith such tl- tl fi fl fidelity delity and convincingness their in- in intelligence In Intelligence and emotions motions Note for I example some orne of ot the phases of character In which he represents represent the broncho Here nere It Itis ItIs is grown full n though still untamed lis but quiet as a lamb resting Its mule on Its dams dam's back It has haa not vet come In contact with the tho thoI I disciplining force torce of man Now ow It ItIs itis Itla I Is confronted with a saddle that lies I upon the ground and recoils with a mIxture of ot trembling curiosity There It has been rounded up and andI I thrown thrOn n at first struggling with Imported fury tury then stretched In utter exhaustion Later the sad sad- saddle sad saddle dle dIe Is on its back and It Is s putting Its strength and cunning agaInst the knowledge and endurance of man 1 hen en finally tamed and co- co cooperating operating co-operating operating with man In the tho taming of or other horses or sharing sharIng- the tho thoI night watch or meeting me with him the mortal perot peril per of ot the ard ord But Borgum's power of ot ting ting our imagination Includes In some case cases even a suggestion of the environment of the figure as for Instance In the group of a mare and foal caught In a snowstorm The little ono one is III unconscious clous of danger content as asle le l nose noses close up to the mothers mother's side for tor shelter but the gesture feature of the latter I Is full tull of solicitude and anxiety In the swish Bwl h of her tail ta tolland and the tho droop and stiffening of the hind quarters we wo are mado made to re- re realize realize alize the force torce of the blizzard while Is it the little m mass of plied piled up mow anew or the tho whiteness of the marbLe or the tho Intensity of ot the sculptors Imagination that ht convey to our own sense 01 or white snowy desolation all aU around the two poor creatures creature It Is l seldom In modern sculpture that one will find an ex- ex expression expression ex expression of sentiment so unaffected and affecting The other two bo elements element I in In his hl work Is its rendering of movement It matters not what kind of ot move move- movement Impetuous ment-Impetuous ment Impetuous dash sudden arrest ar- ar arrest ar arrest rest of action alert repose the vicious fling tung of body and heels as ithe the beast prepares to turn a som- som the tho limp of ot pain the submission sub sub- subI aub I mission of ot exhaustion the supple step tel to music in a circus the pause ot of doubt the spasm of battled baffled rage each Mch and all others othera are represented represented represented with an of ot knowl knowl- knowledge knowledge edge and an Instinctive certainty of method He lie knows know his bis subject welland well welland welland and remises realises In his mind so vividly the Impression which he weeks seeks to Interpret that all pettiness of ot ob- ob ob observation is swallowed in up a aI large larSo comprehension which I disregards I gards detail details excepting so far tar as asI I they are essential to the action or sentiment character And howl character are the details when ho he does docs Introduce Inti Hero for tor example Is I the figure ure of a horse Tamed a saddle lies upon the ground I It Is the object which excites first the terror then the anger of tho untamed hones But Dut this one thoI Is I conquered and hang hanga his hta head sub sub- sub ely over the Instrument and badge of his defeat He stands with front legs lees planted forward the tho legs trembling the hind one limp and sluggish the line Une of ot the tho I ribs exposed as the flank heaves heave nostrils with the gasps gasp I earlI of breath the eo ebo 0 0 the Iho earl I fallen But the touch of all Is the the I way saddle cloth and girths ha hale base e left a hot glossy ImI Impress Int Im- Im Impress 1 I press upon the body bod tho the the hair around the tho edges being CO co ere 1 with sweat It is detail such as I this full tull of character that one I finds In all aU Borglum's Borglum pieces or of sculpture and for tor the ret the orI I mOdeling Is broadly suggestive yet et always ch not only rendering structure and action but offering of ot flesh to the condition and char char- character character acter of ot the hores bores represented Borglum In a word la le an Im- Im Im Impressionistic untrammelled sculptor led by formula or tradition seek seek- seekIng habituated ing nature direct with an eye hal hal- hab ha to es essentials and with a II do- do do grea of ot sympathetic comprehension Blon slon sion tJ that at corresponds with the tho ngo range and reality of his litos lito's ex- ex experience ex experience lU Ill Ills work Is thus truly orIgInal a product ot of his own manhood fashioned to artistic tit fit fitness ne ness l I I I I |