The Art of the Exposition

By Eugen Neuhaus

DigiCat Publishing presents to you this special edition of "The Art of the Exposition" (Personal Impressions of the Architecture, Sculpture, Mural Decorations, Color Scheme & Other Aesthetic Aspects of the Panama-Pacific International Exposition) by Eugen Neuhaus. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

• Language: English
• Publisher: DigiCat
• Release date: Sep 4, 2022
• ISBN: 8596547211181

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Eugen Neuhaus

The Art of the Exposition

EAN 8596547211181

DigiCat, 2022

Contact: [e-mail]

Table of Contents

Cover

Titlepage

Text

On the south of the Court of Abundance, in the Court of Flowers, Edgar Walter's fountain has been placed. Beauty and the Beast have been combined in contrasting fashion, with much effect, by associating the youthful charms of a graceful maid with the angular ugliness of a dragon, who seems to feel honored by having been selected as the resting-place of a creature from outside his realm. He seems to be almost hypnotized into a state of abject lifelessness. The effect of this juxtaposition of the round forms of the human body and the almost geometrical angularity of the fabulous beast is very interesting and adds a new note to the many other ideas presented. The architectural scheme of the fountain is made doubly interesting by a rich use of animal forms of humorous character.

The immediate vicinity of the Laguna remains still to be investigated in regard to sculptural adornments. The dozen or so niches in the west front of the main building present a repetition of two individual groups by Charles Harley, of New York, of decidedly archaeological character The Triumph of the Field and Abundance. They are most serious pieces of work, possibly too serious, and they are in great danger of remaining caviar to the masses on account of the complexity of their symbolism and the intellectual character of their motives. Their setting is most attractive, amongst groups of trees and shrubs.

Maybeck's Palace of Fine Arts is so overwhelming in its architectural effects that one seldom feels like doing justice to the fine sculptural detail everywhere in this building. Ralph Stackpole's interesting Shrine of Inspiration is the most charming bit of sculpture, more detached in its effect than most of the other motives. Bruno Zimm's eight fine friezes, showing the development and influences of the arts in a very severe, almost archaic style of modeling, add a fine note to the dome, and Ulric Ellerhusen's equally architectonic friezes are in good style and are in thorough harmony with the classic quality of this great palace.

It is, of course, not possible to name all of the many pieces of architectural sculpture used at the Exposition. The general effect one receives is that it represents the best that is possible in Exposition sculpture today. It gives evidence of the increasing development of the qualities of design, as contrasted with the so much looser work of former expositions. Seldom before have sculptors anywhere, since sculpture and architecture first worked hand in hand, so played their most important roles together in the ensemble setting that constitutes our Exposition visually. On arch or column, in niches, in fountains, and in free-standing groups, they sing of many themes, and always in harmony, but with no loss of character or individuality. There is no doubt of it, that, for an Exposition, sculpture is the most important of all the arts, because it is the most human. Without it, architecture would be cold and without appeal. I foresee a great future for sculpture in America, where our temperament demands it. The educational value of sculpture at an exposition is incalculable. It is a school for the sculptors, too, as well as for the public.

The Color Scheme