Viewing page 27 of 85

This transcription has been completed. Contact us with corrections.

[[IMAGE]]

HEAD OF PAN.

Parisian art world, equipped with ideas and a power of expression possessed by few older sculptors. When his work came before the jury, and had been passed upon, a great French sculptor said to his colleague: "The man who has sent this work is unknown to me, but he is a master, and I propose three cheers for this young American."

And they were given with the heartiness with which Frenchmen more than any other people show their appreciation of true merit when they find it. Barnard's success with the critics and the public of moral nature of his instincts. In the group the figure, the stupid, soulless features, stands momentarily victorious over the prostrate form of the other, struggling to rise and in a position which shows that a vigorous effort will soon overthrow his adversary. Both figures show rugged force rather than grace, and the under figure suggests movement and action, with a force rarely portrayed in sculpture.

Many sculptors possess equal, if not greater, technical skills than Barnard, but his great power and the secret of his success lie in his complete freedom from tradition and conventionality. He seems to have discarded all the old, stereotyped metaphors of the sculptors' language and has created one of his own. In other words, he has dared to be himself, something which is not done without a gigantic struggle, and this struggle appears continually in the subjects of his works.

Another part of his exhibit in Paris were fragments of a stove-a commission from Norway which gave him an opportunity to work out "under the veil of the Scandinavian myths," as he says, "the relation of man with his exterior nature; struggling with water, earth, the elements surging in his path."
The conception of this work has been 

FIGURE OF A BOY.

NORWEGIAN STOVE MODELED BY BARNAR

thus explained: "The world and the stove) stands upon three roots. Upon the front, where the door opens, portrayed the origin of man. Three go[[?]] take part in his creation On the [[?]]rog waves of eternity little sticks are be [[?]]to the shores of time. One god picks em from the crest and they become one; the second gives him mind; the third with the beard and venerable look of the Father Time, breathes upon him and gives him soul. It is the third action which is prominent in the mezzo-relief, and the look of sympathetic interest on the face of the old god as he breathes upon the pigmy standing in the palm of his hands is irresistible. Upon the back of the stove is the face of a dying warrior-death is so wonderfully imprint
the full
a portion
to the
her wi
soul fr

It se
pendous
medium
 

Transcription Notes:
Crease in page creates difficulty reading. See next page for fuller article.