we consider that the collection is neither large nor
fairly representative of its aims. We were led to
indulge in great expectations of this section by the
glowing terms in which it was officially heralded in
the columns of a contemporary, but feel rather dis-
appointed with the result. ' The special gallery,'
in which this ' International Exhibition of Sculp-
ture ' is shown, is not specially adapted to its use,
being little else than a big corridor. In this place,
which might liave been suitable for pictures, the
comparatively small collection of one liundred and
seventy numbers is ' cribbed, cabined, and confined,'
with scarce a single piece seen to advantage. Ar-
ranged against the wall, in niches, or in groups,
with outlines broken and interrupted, the collection
is robbed of at least half its worth and effect.
As to the international phase, it is not important,
being mainly English and Frencli, with an undue
preponderance of the London or English school,
whence nearly half the exhibits hail. Scotland has
about a fourtli, France (Paris) has less than a fifth ;
the rest of the world is represented by Germany,
five, Italy, seven, and Belgium, four, pieces.
Russia, America, Austria, and Japan are not repre-
sented. Japan, considered by some authorities the
most artistic country in the world, has found no
consideration for her magnificent sculptures in
bronze. From wonderful Italy there are a few
pieces of the very ' Brummagem ' of sculpture,
believed to be representative of the Italian scliool
only by the benighted tourist.
In glancing over the collection we miss several
important names, and observe that others are very
poorly represented. Of the latter, we may mention
Fremiet, the sculptor of the extraordinary Gorille ct
Femme, sjiown in last year's Salon ; of the former,
Mercie, Falguiere, Saint-Marceaux, Barrias (Paris),
Saint-Gaudens (New York), and Gilbert (London),
all men of the highest ability.
Judging from this exhibition, sculpture would
seem to be an art of even more limited expression
than it really is ; for, apart from life-size figures and
busts, there is scarcely any variety. Of one of the
most interesting modes — bas relief — there are few
examples, and the work of the anhnalic)- is scarcely
to be seen. Wiiy is there no work of the giant
Barye or of Cain .
If the collection is not all that was expected, and
might have been, it is pleasant to find that the
public take great interest in it. The narrow pas-
sages of the gallery are constantly crowded. The
ordinary visitor is evidently surprised into gazing
with the intentness of those who look for the first
time. Some express themselves as preferring the
sculpture to the pictures. As there are neither
seats nor room for any, one is sorry those lovers of
the plastic art cannot remain and feast their eyes in
comfort. The appreciation shown amply justifies
the promoters of the Section, which, we understand,
was discredited, as being of insufficient public in-
terest to warrant the expense connected therewith.
The most effective work in the gallery, as it is the
greatest technical effort, is what appears to be the
original model of Alfred Bouclier's remarkable group
of runners at the goal, on the production of which
he was occupied for three years. It was cast in
bronze at the expense of the French Government,
and shown at last year's Salon. The Committee
have been fortunate in securing this exhibit, which
we may safely say is the most wonderful thing of the
kind ever sliown in this country ; indeed it is almost
unique. It is there, with all the fresli, vivid life of
a sketch, full of abandon ; but to think of the labour
and diflSculty of bringing such a work to a successful
issue is truly appalling.
One is inclined to think the result has somewhat
of a tour deforce character, wanting that quality of
repose which is at once the chief virtue and limita-
tion of the art. As one looks at the three fellows
rushing through space with outspread limbs,
wide-mouthed and shouting, the conclusion is forced
that such works can at best only be a rendering, as
in sculpture everything has to take definite forms,
and such a group of ffying bodies could not be seen
or studied, unless by the eye of the instantaneous
camera.
Hamo Thornycroft is shown at his best in
'Teucer,' 'The Mower,' and 'Lot's Wife,' all
different in character, but alike in strength and
refinement, eminently English in their feeling of
dignity and reserve, and interesting in contrast with
work in the French spirit. In the ' Teucer ' we
have a phase of action worthy of close consideration,
and calculated to throw light on the question of
repose referred to above. Having just discharged
an arrow, the figure stands rigid and tense, with
bated breath and eagle eye. The moment selected
is when a certain thought and action are completed
in nice unison, the intensity of which petrifies. We
feel that it is right that the figure, although instinct
with quick life, should be dead still. With the
runners it is different. The action is not dis-
charged, it is being discharged ; there is conse-
quently a disturbed impression conveyed to the
senses wjien we are asked to behold runners running
in perfect stillness — asked to observe the invisible
action of a bird's wing in full flight.
(To be contiriued.)
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ART AT THE GLASGOW INTERNATIONAL EXHIBITION
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