Читать книгу Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D - Clara Erskine Clement Waters - Страница 4

The best sculptors of the present treat the minor details of their subjects in a sketchy, or, as some critics contend, in a rough imperfect manner, while others find that this treatment of detail, combined with a careful, comprehensive treatment of the important parts, emphasizes the meaning and imparts strength to the whole, as no smoothness can do.

Although the highest possibilities in sculpture may not yet be reached, it is animated with new spirit of life and nature. Nineteenth-century aims and modes of expression have greatly enlarged its province. Like Painting, Sculpture has become democratic. It glorifies Labor and all that is comprised in the term "common, every-day life," while it also commemorates noble and useful deeds with genuine sympathy and an intelligent appreciation of the best to which humanity attains; at the same time poetical fancies, myths, and legends are not neglected, but are rendered with all possible delicacy and tenderness.

At present a great number of women are sculptors. The important commissions which are given them in connection with the great expositions of the time—the execution of memorial statues and monuments, fountains, and various other works which is confided to them, testifies to their excellence in their art with an emphasis beyond that of words.

Want of space forbids any special mention of etching, metal work, enamelling, designing, and decorative work in many directions in which women in great numbers are engaged; indeed, in what direction can we look in which women are not employed—I believe I may say by thousands—in all the minor arts? Between the multitude that pursue the Fine Arts and kindred branches for a maintenance—and are rarely heard of—and those fortunate ones who are commissioned to execute important works, there is an enormous middle class. Paris is their Mecca, but they are known in all art centres, and it is by no means unusual for an artist to study under Dutch, German, and Italian masters, as well as French.

The present method of study in Paris—in such academies as that of Julian and the Colarossi—secures to the student the criticism and advice of the best artists of the day, while in summer—in the country and by the sea—there are artistic colonies in which students lead a delightful life, still profiting by the instruction of eminent masters.

Year by year the opportunities for art-study by women have been increased until they are welcome in the schools of the world, with rare exceptions. The highest goal seems to have been reached by their admission to the competition for the Grand prix de Rome conferred by l'École des Beaux Arts.

I regret that the advantages of the American Art Academy in Rome are not open to women. The fact that for centuries women have been members and professors in the Academy of St. Luke, and in view of the recent action of l'École des Beaux Arts, this narrowness of the American Academy in the Eternal City is especially pronounced.

One can but approve the encouragement afforded women artists in France, by the generosity with which their excellence is recognized.

To be an officer in the French Academy is an honor surpassed in France by that of the Legion of Honor only. Within a twelvemonth two hundred and seventy-five women have been thus distinguished, twenty-eight of them being painters and designers. From this famous Academy down, through the International Expositions, the Salons, and the numberless exhibitions in various countries, a large proportion of medals and other honors are conferred on women, who, having now been accorded all privileges necessary for the pursuit of art and for its recompense, will surely prove that they richly merit every good that can be shared with them.