The City of Domes [22]
impressed me as making an unfortunate contrast with the stern angel, repeated in front of each of the two arches. My criticism brought out the reply that it was beautiful in itself and had its place up there. "These accidental effects of association are sometimes good and sometimes they're not. Here I can't see that they make a jarring effect. In the first place, a Court of the Universe ought to express something of the incongruity in our life. Ideally, of course, it isn't good in art to represent a figure in a position that it's hard to maintain without discomfort. But here the outlines are purely decorative and don't suggest strain. In my judgment that figure is one of the greatest ornaments in the court. It gives just the right note."
The two fountains in the center of the sunken garden were gaily throwing their spray into the air. The boldness of the Tritons at the base represented a very different kind of handling from the delicacy of the figure at the top of each, the Evening Sun and the Rising Sun, both executed with poetic feeling. In the Rising Sun, Weinmann had succeeded in putting into the figure of the youth life, motion and joy. Looking at that figure, just ready to spread its wings, one felt as if it were really about to sweep into the air. Though the Evening Sun might be less dramatic, it was just as fine. "It isn't often that you see sculpture of such imaginative quality," said the architect.
Those great symbolic figures by Robert Aitken, at once giving a reminder of Michael Angelo, impressed me as being perfectly adapted to the Court, and to their subjects, Earth, Air, Fire, and Water. But my companion thought they were too big. He agreed, however, that they were both original and strong. There was cleverness in making the salamander, with his fiery breath and his sting, ready to attack a Greek warrior, symbolize fire. Under the winged girl representing air there was a humorous reference to man's early efforts to fly in the use of the quaint little figure of Icarus. Water and earth were more conventional, but worked out with splendid vigor, the two figures under earth suggesting the competitive struggle of men. "I remember Aitken in his beginning here in San Francisco. Though he often did poor stuff, everything of his showed artistic courage and initiative. Even then anyone could see there was something in him. Now it's coming out in the work he has contributed to this Exposition. The qualities in these four statues we shall see again when we reach the fountain that Aitken made for the Court of Abundance. They are individual without being eccentric. Compare these four figures with the groups in front of the two arches, by Paul Manship, another American sculptor of ability, but different from Aitken in his devotion to the early Greek. When Manship began his work a few years ago he was influenced by Rodin. Then he went to Rome and became charmed with the antique. Now he follows the antique method altogether. He deliberately conventionalizes. And yet his work is not at all conventional. He manages to put distinct life into it. These two groups, the 'Dancing Girls' and 'Music,' would have delighted the sculptors of the classic period."
Under the Arch of the Rising Sun two delicate murals by Edward Simmons charmed us by their grace, their lovely coloring, by the richness of their fancy and by the extraordinary fineness of their workmanship. "There's a big difference of opinion about those canvases as murals. But there's no difference of opinion in regard to their artistic merit. They are unquestionably masterpieces. Kelham and Guerin, who had a good deal to do with putting them up there, believe they are in exactly the right place. But a good many others think they are almost lost in all this heavy architecture. You see, Simmons didn't take Guerin's advice as to a subject. Each of his two murals has a meaning, or rather a good many meanings, but no central theme, no story that binds the figures into a distinct unity. So, from the point of view of the public, they are somewhat puzzling. People look up
The two fountains in the center of the sunken garden were gaily throwing their spray into the air. The boldness of the Tritons at the base represented a very different kind of handling from the delicacy of the figure at the top of each, the Evening Sun and the Rising Sun, both executed with poetic feeling. In the Rising Sun, Weinmann had succeeded in putting into the figure of the youth life, motion and joy. Looking at that figure, just ready to spread its wings, one felt as if it were really about to sweep into the air. Though the Evening Sun might be less dramatic, it was just as fine. "It isn't often that you see sculpture of such imaginative quality," said the architect.
Those great symbolic figures by Robert Aitken, at once giving a reminder of Michael Angelo, impressed me as being perfectly adapted to the Court, and to their subjects, Earth, Air, Fire, and Water. But my companion thought they were too big. He agreed, however, that they were both original and strong. There was cleverness in making the salamander, with his fiery breath and his sting, ready to attack a Greek warrior, symbolize fire. Under the winged girl representing air there was a humorous reference to man's early efforts to fly in the use of the quaint little figure of Icarus. Water and earth were more conventional, but worked out with splendid vigor, the two figures under earth suggesting the competitive struggle of men. "I remember Aitken in his beginning here in San Francisco. Though he often did poor stuff, everything of his showed artistic courage and initiative. Even then anyone could see there was something in him. Now it's coming out in the work he has contributed to this Exposition. The qualities in these four statues we shall see again when we reach the fountain that Aitken made for the Court of Abundance. They are individual without being eccentric. Compare these four figures with the groups in front of the two arches, by Paul Manship, another American sculptor of ability, but different from Aitken in his devotion to the early Greek. When Manship began his work a few years ago he was influenced by Rodin. Then he went to Rome and became charmed with the antique. Now he follows the antique method altogether. He deliberately conventionalizes. And yet his work is not at all conventional. He manages to put distinct life into it. These two groups, the 'Dancing Girls' and 'Music,' would have delighted the sculptors of the classic period."
Under the Arch of the Rising Sun two delicate murals by Edward Simmons charmed us by their grace, their lovely coloring, by the richness of their fancy and by the extraordinary fineness of their workmanship. "There's a big difference of opinion about those canvases as murals. But there's no difference of opinion in regard to their artistic merit. They are unquestionably masterpieces. Kelham and Guerin, who had a good deal to do with putting them up there, believe they are in exactly the right place. But a good many others think they are almost lost in all this heavy architecture. You see, Simmons didn't take Guerin's advice as to a subject. Each of his two murals has a meaning, or rather a good many meanings, but no central theme, no story that binds the figures into a distinct unity. So, from the point of view of the public, they are somewhat puzzling. People look up