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the living artists of the world. The improved quality of the statues in public places, the amount of good decoration in public buildings, the charming pieces for formal gardens and increasing use of artistic bronzes in the home are evidence of the ability of sculptors and of its recognition by the public.
Sculpture will never be as democratic an art as painting, but it has a constantly enlarging place in the consideration of the growing number who take a real interest in various branches of art. While a few of our prominent sculptors are foreign born, they are in the minority; many of them have had their training in this country and almost all of them have done the greater part of their work here.
A nori[[???]]e of the se[[???]] of to-da[[???]] er of women [[???]] are mak[[???]] themselves among the prominent [[???]]ors. They are no longer in the profession by sufferance. They are doing work that needs no special consideration because it is woman's work, they are winning prizes from men competitors. Their work does not lack strength or any other quality that makes for artistic value.
One very encouraging thing about the American sculptors of to-day is their freedom and originality. Those who come from older lands have been able to free themselves of the artistic traditions of those countries and to view the present and the future of this country's possibility poetically. Classic statuary is studied for inspiration, but not slavishly imitated. Both in the selection of subjects and in the mode of treatment the sculptors of to-day stand for a new era in sculptural development and the promise of a better to-morrow.

Panama Exposition WOrk.
The work that Mr. A. Stirling Calder did as acting chief of the sculpture at the Panama Exposition in San Francisco in 1915 was a striking proof of the place of sculpture among the arts of to-day. While he was officially Mr. Bitter's assistant in the development of sculpture, he himself did some of the finest work there. At the last meeting of the American Society of Arts and Letters he was elected to membership. He is also a prominent member of the American Sculpture Society.
The Fountain of Energy at San Francisco was his work, and he collaborated with Roth and Mantelli in "The Nations of the East and West." He is rated as one of the most progressive sculptors of this generation. He is also sincere and capable, and this, joined to progressive, means a great deal.
Albin Polasek was a pupil of Grafly's and won the Prix de Rome in Philadelphia. He returned from Rome about five years ago. He is probably one of the four or five men in this country best grounded in the theory as well as in the art of sculpture. He is one of the younger men. He is more sound as a sculptor than some of the men who have had more popular recognition. It is believed that he will be a strong influence for good in the development of the great future of American Sculpture. One of his most important works was "The Sower," show at San Francisco and Buffalo. His small bronzes, which have been making such progress in the homes of American col-
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lectors, are of a peculiarly poetic quality, without being incipient, and are as great in a sculptural sense as though of heroic proportions. His work proves to a remarkable degree that sculpture need not fail of greatness because it is expressed in small figures.
Mr. Polasek was recently appointed instructor in sculpture at the Art Institute of Chicago, having won the appointment on his merits from a host of other aspirants. His "Fantasy" is in the Metropolitan Museum of Art and his bust of F.D. Millet in the Pennsylvania Academy. He won honorable mention in the Salon of 1913.
A Poetic Lincoln
Adolph A. Weinman was born in Germany, but studies, after coming to this country in 1880, first with Martini and then with Saint-Gaudens. His "Lincoln" at the birthplace in Kentucky is one of his most notable public works. It is probably the most poetic Lincoln ever created, yet this quality is gained without the slightest sacrifice of strength. Among the most impressive and important things that he has done were the two figures of "A Rising Son" and "Descending Night" for the Panama Exposition, and they are among the few things shown here that will have permanent value as examples of modern sculpture. The most recent work which has brought him into prominence was his creation of the design for the new dime.
Miss Evelyn B. Longman is one of the brightest lights among women artists. She was born in Ohio, studied at the Chicago Art Institute, and came to New York without money and without influence. She knocked time after time at the studio door of Daniel C. French until she finally won admittance and became his assistant for several years. To-day her ability as a sculptor is generally recognized and she owns a part of the building, at the top of which she has a beautiful studio and delightful living apartments. An authority has said of her that she is representative of all that is great and painstaking in monumental sculpture. She is essentially a monumental sculptor. Her doors for the Naval Academy chapel are unexcelled by any other example of similar work in the country. Her statue of "Liberty" which surmounted the dome of Festival Hall at the St. Louis Exposition, touched the high water mark of American decorative sculpture up to that time. It has since been adopted in its original size for the challenge trophy for general excellence in athletics to be awarded at
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the annual athletic meet of the United States Navy.
Miss Longman is a wonderful example of how sweet and fine and womanly a woman may remain after having received the highest honors in the art world. She is still working on the details of the Allison Memorial. She was the winner in the competition for the heroic statue of Electric Energy on the tower of the Western Union Building, hers having one in competition with those of four of the most prominent sculptors in America. Some of her work is in the Metropolitan Museum and some in the Chicago Institute.
A Statue of Andrew Carnegie.
J. Massey Rhind was born in Scotland of an artistic family. He was educated at the Scotch Academy and at the Royal Academy in London. He also studied under Dalan in Paris, coming to New York in 1889. His chief field of activity has been in architectural sculpture, and

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