SCULPTURE. 726 SCULPTURE. t.iit vi,ii> .nx- lliirr.v B«t(S (1850-09), George I'lnnklin (I8G0— ). a ilocoialivp sculptor, the iiniiiial sculptors Uobert Stark and John Swan, uiiil Frederick Ponieroy, who has made fine statuettes. (iEBMAsy. The first CJernian classicist oI_^im- portanee was .loliann Heinrich Dannccker ( 1758- 18-11), who establislicd the Stuttgart school. In Berlin, .Johann Gottfried Schadow (171)4-1850), althou;;!! a classicist, and superior where the ideal element was involved, l)e<;aii the introduc- tion of historical sculpture. His principal fol- lowers were his son Kudolf Schadow (d. 1822), Christian Friedrieh Tieck (17761851), and Christian Ranch ( 1777-18,57), the greiitest sculp- tor of the German historical school. Though his sense of form was relined by the antique. Raucli's art was in the main naturalistic, and faitliful to historical detail. In a scries of fine monumental sculptures he succeeded in the rendition of mod- ern costume. Amoiif! liis followers were Drake, Bliiser. Sehievelbein. Kiss, famous for his animals in bronze, Siemering. Encke, and Schweinitz. The tendency of the Berlin school was toward liistorical aiid naturalistic sculpture. At Dres- den. Krnst Kietschel (1804-61). the best of Ranch's pupils, continued his master's style, with a slight tinge of Romanticism. Ernst Hiihnel (1811-91) represents rather the transition from classical to romantic style, while Johannes Schil- ling (1828 — ), Rietschel's most distinguished pupil, shows a tendency toward the Rococo in such works as the National Monument in the Xiederwald. At Munich the tendency was toward Romanti- cism, modified by the classic style. Konrad Eber- liard (1708-1859) executed a large number of niediiFval subjects. Lndwig Sehwanthaler (1802- 48 ) , notwithstanding his training under Thor- waldsen, was best in the treatment of national subjects of a romantic character. Not until the end <if the nineteenth century did the naturalistic tendency definitely triumph, especially at Berlin in the work of Reinhold Begas (1831 — ). Avhose ma.sterpieee is the memorial to William I. (un- veiled 1897), and in that of Karl Begas, Eberlein, Geiger, Seliott, and others. Much more pro- nounced is the naturalism, in their sculptural efforts, of the painters Franz Stuck, in Munich, and Max Klinger, at Leipzig, where also Karl SefTner is conspicuous as a realistic portrayer. In Vienna the modern period was ushered in by Fernkorn (1813-78), of Schwanthaler's school, and counts among its chief representatives Zum- busch (1830—), Kundniann (18.38—), Weyr (1847 — ). and. pronouncedly naturalistic, Viktor Tilgner (1844-96). Arthur 'Strasser (1854—) is es]iecially noted for his polychrome statuary. Among the German sculptors who settled in foreign parts, the most distinguished are Emil Wolff (1802-79) in Rome, and Adolf Hildebrand (1847 — ) in Florence. Other European Countries. In Italy the classical tendency has been stronger than else- where in Europe, and the ultimate triumph of realism has therefore been more retarded. The chief pupil of Canova was Pietro Tenerani (1789- 18.58), afterwards an ardent follower of Thor- waldsen: Poinpeo Marchesi (1789-1858) is known for his colossal statues. The Italian romanticists tried to unite naturalistic with classical tenden- cies, as mav be seen in the works of Bartolini (d. 18.50), Panipaloni (d. 1847), and Pio Fedi (181.5- 92). Far more naturalistic, though still clas- sical, compared with other eontem])orary Euro- pean sculptors, were Giovanni DuprC' (1817-82), Vicenzo Vela (1822-91), and Giulio Monteverde ( 1837 — ) . The most impoi-tant sculptor of the present day is Ettore Ximeues, who has executed a large number of monumental works of im- portance. The Scandinavian countries followed the gen- eral European development, the Renaissance find- ing entrance later than elsev'here in Europe. The influences were at first Netherlandish, but dur- ing the eighteenth century French masters Avere mostly employed. In Serg'el ( 1740-1814) , Sweden possessed a classicist whose works are said to bear favorable comparison with those of Thor- waldsen. Bystrom (1783-1848) and Fogelberg (1786-1854) followed in his wake. Sergei's pupils and those of Thorwaldsen in Denmark early tended toward romantic subjects from Norse niytholog)'. Most akin to Thorwaldsen's art was tliat of Bissen (1798-1868). At present the gen- eral tendency in these countries is naturalistic, after French models, and its most prominent exponent is the Norwegian IStefan Sinding (1840 — ). A strong naturalism, cond)ined with sharp characterization, is also the principal trait of Russian sculpture, which is of very recent growth. The best known artists are Lanceray, whose bronzes are full of ■spirited action com- bined with detailed execution, and Lieberich (1828 — ), a sculptor of animals. United States. Neither distinguished for- eigners like the Italian Cerachi and the French- man Houdon, who came to America during the eighteenth century, nor self-taught Americans like William Rusk (1757-1853), of Philadelphia, and .John Frazee (1790-1852), had any inrtuence on the development of American sculpture. The first artists of prominence belong to the school of Canova and Thorwaldsen. The first to go to Rome was Horatio Greenough ( 1805-52 ) , who executed portrait statues, like Washington as the Olv-mpian Zeus, in classical garb, and a num- ber of" refined busts. Hiram Powers (1805-73), whose "Greek Slave" is well known, was a con- scientious artist. Thomas Crawford (1813-57) was more original, mingling the classical spirit with American sentiment. Erastus Dow Palmer (1817—), William Wetmore Story (1819-96), and Randolph Rogers (1825-92) were less ini- jiortant representatives of the same group. John Rogers (1829 — ) appealed to sentiment and every- day incident by statuette groups of military and domestic subjects. The most able of the later American classicists were William Henry Rine- hart (1825-74), who did both ideal works and ])ublic monuments in a pure dignified style, and Harriet Hosmer (1830 — ), the favorite pupil of the English sculptor Gibson. Only two promi- nent sculptors of the early period were distinctly national in spirit. Henry Kirke Brown (1814- 86) executed public monuments with a vigorous style, and his pupil J. Q. A. Ward (1830—) is widely known for his statues and statuettes of Indians and negroes. Ward's remarkable gifts of composition and form have raised him to the highest rank among American artists. Since about the time of the Centennial Expo- sition (1876) classicism has ceased to influence -American art. A number of sculptors like Ephraim Key.ser (1850 — ), of Baltimore, have had German training, while others have remained
