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878    THE CENTURY MAGAZINE.

bust of an elderly lady modeled from memory; and a portrait bust of a man. The "Two Natures", Brotherly Love, and the bust of a lady were sculptured in marble; the bust of a man was cast in bronze. These works were acclaimed by the jury of the Société Nationale des Beaux-Arts, and the sculptor was elected an associate member. His success was instantaneous with the artists, the critics, who wrote of the work with enthusiasm, and that portion of the public which gives the word for or against a newcomer in the Paris world of art. It was soon learned that the sculptor, George Grey Barnard, was a young American, a pupil of M. Cavelier, and that he had come to Paris a few years before, a novice in the art in which he then showed such masterly ability. He was totally unknown in American, for, although he had been a pupil in the Chicago Art School, he had not gone far enough in his studies to feel like exhibiting, and he had no acquaintance in the art coteries of the Eastern cities. In the autumn of 1896 Mr. Barnard showed this same group of works, with some additional pieces, in New York, at the Logerot in Eighteenth street; and during the three or four weeks that is was open the exhibition was visited by a large number of people. His sculpture was widely discussed in art circles, but did not receive much appreciative comment from the press. The artists, I think, pretty generally admitted his power, and some of them spoke in superlative terms. The young sculptor now stands at the threshold of a career in his own country, and it is to be hoped that his remarkable talent will receive full recognition and encouragement.

It is plain to be seen that Mr. Barnard's ideas and those formulas and principles generally accepted as essential parts of beauty of form and composition do not agree. Like Rodin, he seems to delight in the natural and the accidental, and to be more susceptible to impressions of force than of grace. The Two Natures has an uncouth, rugged aspect as a whole. It is soon seen, when the group is looked at in detail, that it is amazingly good in technical treatment, and that characterization in the heads of the two figures has been thoughtfully conceived and truthfully rendered. The great lines of the group cannot be said to build up well, and the effect is not unified. The standing figure presents a long perpendicular line on one side that is not balanced by any other. The under figure in the struggle, half raised up and supported by one arm, is full of movement, as in life. The group gives an impression of unrest that entirely befits the motive of the title, it is true; but we are accustomed, and rightly accustomed, to expect repose or dignity; or some quality that is not disturbing, in sculpture. But this conception or choice of subject may be excused, because the sculptor has made of it a means of showing such masterly treatment of marble with the chisel as few men have shown us. It is pure modeling without tricks, and it is varied, firm, vigorous, and skilful all at once. I should say, in looking at this group and the other pieces in the exhibition, that the sculptor has a hundred ways of expressing texture, color, and effect, and that

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"Brotherly Love"