The Sculpture and Mural Decorations of the Exposition

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The Sculpture and Mural Decorations of the Exposition

A Pictorial Survey of the Art of the Panama-Pacific International
Exposition

Described by
Stella G. S. Perry

With an Introduction by
A. Stirling Calder, N. A.
Acting Chief of Sculpture of the Exposition

Paul Elder and Company
Publishers - San Francisco

Copyright, 1915, by
Paul Elder & Company
San Francisco

The courtesy of the Cardinell-Vincent Company, official photographers of
the Panama-Pacific International Exposition, of granting permission to
reproduce the selection of official photographs appearing in this
volume, is gratefully acknowledged.

To the Memory of Karl Bitter

When I have fears that I may cease to be
Before my pen has glean'd my teeming brain,
Before high-piled books, in charactery,
Hold like rich garners the full ripen'd grain;
When I behold, upon the night's starr'd face,
Huge cloudy symbols of a high romance,
And think that I may never live to trace
Their shadows, with the magic hand of chance;
And when I feel, fair creature of an hour,
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love; then on the shore
Of the wide world I stand alone, and think
Till love and fame to nothingness do sink.

-Keats

Contents

Sonnet. Keats
The Sculpture and Mural Decorations of the Exposition. A. Stirling
Calder, N. A.

Illustrations

Exposition Sculpture

The Mother of Tomorrow - Detail from the Nations of the West.
Cardinell-Vincent, photo. (Frontispiece.)
Fountain of Energy - Central Group, South Gardens. Pillsbury Pictures
Equestrian Group - Detail, Fountain of Energy. Cardinell-Vincent, photo
North Sea-Atlantic Ocean - Details, Fountain of Energy.
Cardinell-Vincent, photo
Mermaid Fountain - Festival Hall, South Gardens. Cardinell-Vincent,
photo
Torch Bearer - Finial Figure, Festival Hall. Cardinell-Vincent, photo
The Muse and Pan - Pylon Group, Festival Hall. W. Zenis Newton, photo
Boy Pan - Detail, Pylon Group, Festival Hall. Cardinell-Vincent, photo
Detail, Spire Base, Palace of Horticulture. Cardinell-Vincent, photo
Cortez - In Front of Tower of Jewels. J. L. Padilla, photo
Pizarro - In Front of Tower of Jewels. William Hood, photo
The Pioneer - Avenue of Palms. W. Zenis Newton, photo
The End of the Trail - Avenue of Palms. W. Zenis Newton, photo
Historic Types - Finial Figures, Tower of Jewels. Cardinell-Vincent,
photo
Fountain of Youth - Colonnade, Tower of Jewels. W. Zenis Newton, photo
Fountain of El Dorado - Colonnade, Tower of Jewels. W. Zenis Newton,
photo
Frieze - Details, Fountain of El Dorado. Cardinell-Vincent, photo
Nations of the East - Group, Arch of the Rising Sun. Gabriel Moulin,
photo
Pegasus - Spandrels, East and West Arches. Cardinell-Vincent, photo
The Stars - A Detail of the Colonnade. Cardinell-Vincent, photo
Earth - Detail, one of "The Elements." Cardinell-Vincent, photo
The Signs of the Zodiac - Frieze on the Corner Pavilions.
Cardinell-Vincent, photo
Nations of the West - Group, Arch of the Setting Sun. Cardinell-Vincent,
photo
Enterprise - Detail, Nations of the West. Cardinell-Vincent, photo
Dance - Balustrade, Court of the Universe. Cardinell-Vincent, photo
The Rising Sun - Fountain, Court of the Universe. W. Zenis Newton, photo
Column of Progress - In the Forecourt of the Stars. Cardinell-Vincent,
photo
Frieze - Base, Column of Progress. Cardinell-Vincent, photo
Primitive Ages - Altar Tower, Court of Ages. Cardinell-Vincent, photo
Primitive Man - Arcade Finial, Court of Ages. Cardinell-Vincent, photo
Fountain of Earth - Central Group, Court of Ages. W. Zenis Newton, photo
Survival of the Fittest - A Panel, Fountain of Earth. Cardinell-Vincent,
photo
Lesson of Life - A Panel, Fountain of Earth. Cardinell-Vincent, photo
Helios - Separate Group, Fountain of Earth. Cardinell-Vincent, photo
Water Sprites - Base of Column, Court of Ages. Cardinell-Vincent, photo
A Daughter of the Sea - North Aisle, Court of Ages. W. Zenis Newton,
photo
The Fairy - Finial Figure, Italian Towers. Cardinell-Vincent, photo
Flower Girl - Niche, Court of Flowers. Cardinell-Vincent, photo
Beauty and the Beast - Fountain Detail, Court of Flowers.
Cardinell-Vincent, photo
Caryatid - Court of Palms. Cardinell-Vincent, photo
The Harvest - Court of the Four Seasons. Cardinell-Vincent, photo
Rain - Court of the Four Seasons. Cardinell-Vincent, photo
Fountain of Spring - Court of the Four Seasons. Cardinell-Vincent, photo
Fountain of Winter - Court of the Four Seasons. Cardinell-Vincent, photo
Fountain of Ceres - Forecourt of the Four Seasons. W. Zenis Newton,
photo
The Genius of Creation - Central Group, Avenue of Progress.
Cardinell-Vincent, photo
The Genius of Mechanics - Column Friezes, Machinery Hall.
Cardinell-Vincent, photo
The Powers - Column Finials, Machinery Hall. W. Zenis Newton, photo
Pirate Deck-hand - Niches, North Facade of Palaces. Cardinell-Vincent,
photo
From Generation to Generation - Palace of Varied Industries.
Cardinell-Vincent, photo
The Man With the Pick - Palace of Varied Industries. Cardinell-Vincent,
photo
The Useful Arts - Frieze over South Portals. Cardinell-Vincent, photo
Triumph of the Field - Niches, West Facade of Palaces.
Cardinell-Vincent, photo
Worship - Altar of Fine Arts Rotunda. Ralph Stackpole, photo
The Struggle for the Beautiful - Frieze, Fine Arts Rotunda.
Cardinell-Vincent, photo
Guardian of the Arts - Attic of Fine Arts Rotunda. Cardinell-Vincent,
photo
Priestess of Culture - Within the Fine Arts Rotunda. Cardinell-Vincent,
photo
Frieze - Flower-boxes, Fine Arts Colonnade. J. L. Padilla, photo

Exhibit Sculpture

The Pioneer Mother - Exhibit, Fine Arts Colonnade. W. Zenis Newton,
photo
Lafayette - Exhibit, Fine Arts Rotunda. W. Zenis Newton, photo
Thomas Jefferson - Exhibit, Fine Arts Rotunda. Cardinell-Vincent, photo
Lincoln - Exhibit, South Approach. Cardinell-Vincent, photo
Earle Dodge Memorial - Exhibit, Fine Arts Rotunda. Gabriel Moulin, photo
Fountain - Foyer, Palace of Fine Arts. Gabriel Moulin, photo
Wildflower - Garden Exhibit, Colonnade. W. Zenis Newton, photo
The Boy With the Fish - Garden Exhibit, Colonnade. W. Zenis Newton,
photo
Young Diana - Garden Exhibit, Colonnade. Pillsbury Pictures
Young Pan - Garden Exhibit, Colonnade. Cardinell-Vincent, photo
Fighting Boys - Garden Exhibit, Colonnade. W. Zenis Newton, photo
Duck Baby - Garden Exhibit, Colonnade. W. Zenis Newton, photo
Muse Finding the Head of Orpheus - Garden Exhibit, Colonnade. W. Zenis
Newton, photo
Diana - Garden Exhibit, South Lagoon. W. Zenis Newton, photo
Eurydice - Garden Exhibit, Colonnade. W. Zenis Newton, photo
Wood Nymph - Garden Exhibit, Colonnade. W. Zenis Newton, photo
L'Amour - Garden Exhibit, Colonnade. W. Zenis Newton, photo
An Outcast - Garden Exhibit, Colonnade. Gabriel Moulin, photo
The Sower - Garden Exhibit, Colonnade. W. Zenis Newton, photo
The Bison - Garden Exhibit, South Approach W. Zenis Newton, photo
The Scout - Garden Exhibit, South Lagoon W. Zenis Newton, photo
The Thinker - Exhibit, Court of French Pavilion. W. Zenis Newton, photo

Mural Decorations
Earth - Fruit Pickers. Court of Ages. W. Zenis Newton, photo
Fire - Industrial Fire. Court of Ages. W. Zenis Newton, photo
Water - Fountain Motive. Court of Ages. W. Zenis Newton, photo
Air - The Windmill. Court of Ages. W. Zenis Newton, photo
Half Dome - Court of the Four Seasons. Gabriel Moulin, photo
Art Crowned by Time - Court of the Four Seasons. Gabriel Moulin, photo
The Seasons - Court of the Four Seasons. Gabriel Moulin, photo
Westward March of Civilization - Arch, Nations of the West. Gabriel
Moulin, photo
Discovery - The Purchase. Tower of Jewels. Gabriel Moulin, photo
Ideals of Emigration - Arch, Nations of the East. Gabriel Moulin, photo
The Golden Wheat - Rotunda, Palace of Fine Arts. Gabriel Moulin, photo
Oriental Art - Rotunda, Palace of Fine Arts. Gabriel Moulin, photo
The Arts of Peace - Netherlands Pavilion. Gabriel Moulin, photo
Penn's Treaty with the Indians - Pennsylvania Building. Clayton
Williams, photo
Return from the Crusade - Court, Italian Pavilion. Cardinell-Vincent,
photo
The Riches of California - Tea Room, California Building. Gabriel
Moulin, photo

The Sculpture and Mural Decorations of the Exposition

The Sculpture and Mural Decorations

"In this fair world of dreams and vagary,
Where all is weak and clothed in failing forms,
Where skies and trees and beauties speak of change,
And always wear a garb that's like our minds,
We hear a cry from those who are about
And from within we hear a quiet voice
That drives us on to do, and do, and do."

The persistent necessity for creation is strikingly proved by the
prolific output of the Arts. Year after year, as we whirl through space
on our mysterious destiny, undeterred by apparent futility, the primal
instinct for the visualization of dreams steadily persists. Good or bad,
useful or useless, it must be satisfied. It amounts to a law, like the
attraction of the sexes. Discouraged in some directions, it will out in
others, never permanently satisfied. Each age and people must have its
own art as well as what remains of the arts of past ages and peoples -
in spite of scant patronage, commercial limitation, and critics'
hostility. The philosopher tells us that everything has been done, yet
we must do it again - personally.

Art is so much a part of life that to discourage it is to discourage
life itself - as if one would say: "Others have lived; all imaginable
kinds of life have been lived. Therefore it is unnecessary for you to
experience life."

The plastic and pictorial decoration of an Exposition offer unusual
opportunity to the Artist, at the same time imposing handicaps - the
briefness of time, the poverty of material. It affords chances for
experiment, invention, and originality only limited by the necessary
formal settings of the architecture, out of proportion to the initiative
of the artists, a majority of whom prefer, either from inclination or
necessity, to take the safe course, the beaten path of precedent.
Artists are of two kinds - the Imitators and the Innovators. The public
also is of two corresponding kinds - those who accept only what they
have learned to regard as good, preferring imitations of it to anything
requiring the acquisition of a new viewpoint; and that other kind,
receptive to new sensations. The first class is the more numerous, which
explains why most of our art, in fact most of all art, is imitative -
that is, imitative of the works of other artists.

The sculpture and mural decorations of the buildings and grounds of the
Exposition adequately represent the output of American art today. It is
the best possible collection under existent conditions.

Its many sources of inspiration - all European, like the sources of our
racial origin - are clothed in outward resemblances of the styles and
tinged with the thought of the masters, old and new, who constitute
Precedent. Thus, in sculpture we have imitations, conscious or
unconscious, of the Greek, of Michael Angelo, Donatello, Rodin, Barye,
Meunier, Saint Gaudens; in painting, of Besnard, Merson, Monet, et
cetera, as well as some more complex personal notes, more difficult to
relate, although they too are related in the main, adding only another
variation of character to the great mass of human ideality. As in
nature, there is nothing absolutely pure - nothing that can exist
totally unrelated to the whole - so it is in art. Its works should be
judged, not by their absolute adherence to any so-called standard, but
finally by the appeal they make to the receptive and unprejudiced mind.

Be brave, Mr. Critic - Madame Public, think for yourself, at the risk of
ridicule. Be not ashamed to admire what appeals, before learning its
author, and when it no longer appeals leave it without remorse.

In this introduction to the sculpture of the Exposition, it is unusually
fitting that grateful recognition be accorded the memory of the sculptor
whose lively faith in our growth, and tireless energy first launched the
enterprise. Karl Bitter possessed more than any other American sculptor
that breadth of vision that enabled him to discern talent - that
generosity that enabled him to give praise where he believed it due -
that suppleness of mind that could comprehend new concepts - and that
sense of justice that avoided no obligation. Such an unusual combination
of faculties defined a man broader and more profound than his broad
achievement - one of the rare personalities in our Art, the most this
exponent that sculpture has known in this land. In the initial stages of
planning, his fiery initiative and amazing grasp of detail commanded
attention, speedily resulting in the first general plan of the sculpture
of the buildings and grounds; while later his tenacity and generosity
assured the completed unity, as it now stands. Forty-four sculptors
contributed designs, the subjects of which were assigned to the number
of seventy-eight items, some of which comprise compositions involving a
score of figures. The number of replicas used as repeated architectural
motifs in order to create an effect of richness necessitated by the
styles of architecture, is very numerous.

Vitality and exuberance, guided by a distinct sense of order, are the
dominant notes of the Arts of the Exposition and pre-eminently of the
sculpture. It proclaims with no uncertain voice that "all is right with
this Western world" - it is not too much to claim that it supplies the
humanized ideality for which the Exposition stands - the daring,
boasting masterful spirits of enterprise and imagination - the frank
enjoyment of physical beauty and effort - the fascination of danger; as
well as the gentler, more reverent of our attitudes, to this mysterious
problem that is Life.

One of the strongest influences the sculpture will have will be in the
direction of a new impulse to inventive decoration. This field has
remained relatively undeveloped, partly owing to our fondness for the
portrait idea, but the direction is legitimate and worthy. Architecture,
which is the growth of a selective precedence, must be continually
supplied with new impulses - new blood to re-energize, rehumanize its
conventions - and on the other hand, all such new impulses must be
trained into order with architecture. Within the last few years a school
devoted to the development of this, as it might be styled, applied
sculpture, has been maintained by a group of public-spirited architects
under the management of the Society of Beaux Arts Architects and the
National Sculpture Society of the United States of America.

The Star Goddess on the colonnades of the Court of the Universe amounts
to a definite creation of a new type of repeated architectural finial -
a human figure conventionalized to be come architecturally static - yet
not so devitalized as to be inert. Based on another style of
architecture the finials of the cloister of the Court of Ages serve a
correspondingly related purpose, and the crouching figures on columns in
this court are excellent examples of decorative crestings.

The groups of the Nations of the East and the Nations of the West are
new types in motif and composition of arch-crowning groups - to be seen
in silhouette against the sky at all points.

Both of these are grandly successful solutions of problems never before
attempted since the ancients imposed the quadriga form of composition.
They were first of all made possible by the receptive attitude of the
distinguished architects, Messrs. McKim, Mead and White - which proves
conclusively to me that those who are most versed in the various forms
of antique arts are also those who are most capable of accepting the
application of new motifs when sufficiently proven, and of quickly
assimilating genuine contributions to the growth of progressive art. By
so doing they lend to them all that wealth of refined elegance that has
come down through the ages. This acceptance in itself is fraught with
much encouragement to the growing school of public sculpture that aims
to understand the principles of co-operation and to weld them to an
ideal.

The above is true also of the Column of Progress, which was again made
possible by the instant comprehension of the architect, Mr. W. Symmes
Richardson. The Column illustrates a new use for an ancient motif. A
type of monument which while distinctly architectural in mass has been
humanized by the use of sculpture embodying a modern poetic idea. Now,
Mr. Critic, it does not matter in the least whether you care for this
idea or not. The fact remains, and is all important, that as a type of
sculptured column it is new and fills architectural and aesthetic
requirements, so that other columns of the same or kindred types will be
designed.

The Fountain of Energy and the Fountain of the Earth are the two
original fountain compositions. By which is meant that while there are
many other very charming fountains on the grounds they are distinctly
conceived within the rules of precedent and offer no new suggestion of
type. An exposition is the proper place to offer new types in design and
execution and happy are they who accept the challenge.

The fountains in the Court of the Universe are examples of how the charm
of sculpture can vitalize architectural conventions. The crowning
figures of these fountains, representations of the Rising and the
Setting Suns, have achieved great popularity.

The still potent charm of archaic methods applied to modern uses is well
illustrated in the groups of the "Dance" and of "Music" on the terraces
of the Court of the Universe. Again on the rotunda of the Fine Arts
Palace and elsewhere this tendency crops out and always with the
assurance of pleasing. The group representing the "Genius of Creation"
lends a modifying note of refinement against the vigorous Western facade
of Machinery Building, and adds much to the interest of the vistas north
and south of the Avenue of Progress.

There are figures and reliefs of genuine feeling that do not gain by
resemblances to the mannerisms of Rodin and Meunier, that are not in
harmony with the surrounding architecture. The original figures in the
south portal of the Palace of Varied Industries and the panel over the
entrance to the Palace of Liberal Arts are quite successful inserts of
new thought in old frames in spite of a touch, of this influence. Rodin,
the emancipator of modern sculpture, and a notorious anarchist as
regards architecture, is not always applicable. The imitation of his
style induces a negation of modeling only in evidence in one of his
manners of execution.

There is a vague tendency voiced by some critics to advance the theory
that the real future democracy of art depends on the verdict of the man
in the street. This is ridiculous. The future of art depends on no one
class of men, aristocratic or democratic. It depends on all men. Art is
neither democratic nor aristocratic. It knows no class - it is concerned
with life at large - elemental life. Art is praise and all things in
life are its subjects.

The group "Harvest" surmounting the great niche in the Court of the
Seasons is a fine placid thing - and the bull groups on the pylons are
time-honored, virile conceptions strikingly placed.

The three-tiered sculpture groupings of the Tower of Ages make rich
appeal in relation to the romantic architecture.

There are groups in niches in the west walls that will remain caviar to
the general, but which are conceived with a fine sense of decoration,
and need only a touch of relation to reconcile them to the observer. To
him they are too strange. Yet strangeness exists and if sufficiently
medicated is even admired. It is strange when one thinks of it, to have
had an Exposition.

"The End of the Trail" is perhaps the most popular work on the grounds -
the symbolism is simple and reaches many, with just the right note of
sentiment. On the other hand, there are those who have gone beyond the
obvious and prefer less realistic subjects particularly in relation to
architecture. Of this kind may be found many inserts and details making
no particular claim for attention except that of delightful enrichment.
The details of the Exposition are excellent and sometimes brilliant.

"The Pioneer" is not well understood. The trappings here puzzle the
realists who insist on a portrait of a certain personage - Joaquin
Miller. The sculptor, I know, intended nothing of the sort. It is his
vision of an aged pioneer living over again for a moment his prime.
Astride his ancient pony hung with chance trappings, symbols of
association, with axe and rifle with which he conquered the wilderness,
he broods the past.

A mural decoration should be fitting for the place which it embellishes
- both in color and composition. The subject, also, should be relatively
interesting, but not the first consideration as is the color, the line,
the chiaros-curo. At a glance the decoration should be the jewel for the
surrounding space. The murals at the Exposition are rather unusual in
their settings, where every building and every court is so replete with
Mr. Guerin's splendid coloring.

Mr. Brangwyn's decorations are by far the most interesting in their free
joyous use of color and amusing composition. From about the middle of
the cloister under the arches one turns to the right or left and is
greeted with a pleasant surprise of color. Then the story appears and is
buoyant and rich in execution. One is rather shocked when standing
directly near or underneath by the big patches of color and coarse
drawing, the vulgar types not well enough drawn to move our admiration.
The cloister looked poor to have such rich notes in each corner, but one
glance without the arches into the rich and teeming court, and we were
reconciled to their placing.

Mr. Simmons' color note is pleasant, seen across the great court. How
much more pleasant it is than to have adopted the blue of the heavens as
the dominating note - all the blue decorations in spite of their many
excellences look dull and grey and weary - the painters have not been
able to play up to and dominate the brilliant blue of the sky. In the
Court of the Four Seasons one finds color notes that are fitting, though
lacking in imaginative interest.

From the Avenue of Palms one looks across the Court of Flowers and sees
over an opening what appears to be a crucifixion. On nearer view one is
undeceived. The rich orange coloring and darker contrast is very
handsome. It is to be regretted that the lunettes over the other doors
are again that watery blue from heaven. Though brilliant in themselves
and clear in coloring, none of the three decorations in this court are
sufficiently naive in design for the space - much too smart and knowing,
they might be easel picture motifs used for the occasion. The American
public is so quick and clever that it is difficult to find in the
painters the simplicity of mind necessary for such work. Again we find
good composition and brilliant coloring in the two wall paintings in the
Pennsylvania Building.

The Italians have given us an imitation of their frescoing - the doing
of it in this manner illustrates the simplicity of the Italian mind, but
does not convey to one who has not been to Italy the absolute grandness
of Italian fresco.

This is not a detailed review nor can justice here be done to all that
honest, earnest, hopeful effort of the world-loving artist - he who
delights in the myriad phases of our lovely-terrible life, who naively
labors to bring forth his sonnet of praise. Be kind to him all ye who
contemplate, and remember how much easier it is to criticize than to -
be intelligently sympathetic. It is all for you. Take what you like, and
leave the rest without pollution. It may serve to comfort and to joy thy
fellow-man.

A. Stirling Calder.

Illustrations and Descriptive Notes of the Sculpture and Mural
Decorations of the Exposition

Fountain of Energy
Central Group, South Gardens

The Fountain of Energy in the place of honor within the main entrance
gives the keynote of the Exposition - a mood of triumphant rejoicing.
The proud bearing of the equestrian group, the wide sweep of water when
the fountain is in play, the sportive movement of the figures in the
basin, all express the joy of achievement. In the conception of the
sculptor, A. Stirling Calder, this was fitting tribute to the completion
of the Panama Canal which the Exposition celebrates.

The fountain has a double significance. In the first aspect it records
the conquest by Energy of the labors of the Canal. In the second it
proclaims the approach of the Super-Energy of the future. Both
interpretations are detailed upon the following pages. On the globe
supporting the horseman are indicated the sun's course North and South
and the evolution of mankind from lower to higher forms of life. That of
the strenuous Western hemisphere is connoted by a bullman; the quiet
East by a cat-human. Great oceans and lesser waters revel in the
fountain-bowl. A garland of merfolk join globe to base with great
sculptural beauty.

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