2 44 SCULPTURE 



Extensive structural alterations have been effected during the years ign and 1912 

 at the National Gallery in London, the west wing being considerably extended and 



the east wing rebuilt. The additional space thus provided has made it 

 Gallery, aa possible to re-arrange the vast collection in a more satisfactory manner, 



and to find place for the numerous recent additions to the National col- 

 lection without having to overcrowd the walls. The National Gallery now compares 

 favourably with the best arranged public galleries of the world. 



Sculpture. The revulsion from academism, realism and impressionism has in the 

 art of sculpture l6d to a movement that has much in common with Post-Impressionism 



in painting. This -movement is far more widespread on the Continent of 

 " Europe than in England. The dominating feature of its main current is 



a return to archaic massiveness and simplicity, which is particularly notice- 

 able in the recent monumental sculpture of Germany and Austria. In France little 

 encouragement has been officially given to this archaistic art, which harps back upon 

 ancient Egypt, Assyria and Cnossus, and which, with all its affectation of primitive 

 rude strength, has not sufficient real vitality and sincerity to exercise a permanent 

 influence, although its more eccentric manifestations naturally attract considerable 

 attention at exhibitions. Maillol and Bourdelle are the most gifted sculptors of this 

 synthetic archaistic group. The grotesque plastic contortions and malformations 

 of Henri Matisse are so obviously produced with the intention to startle and shock, 

 that they do not deserve serious consideration. 



Strangely enough it was left to one of the very few English Post-Impressionists 

 for Jacob Epstein, though Russian by birth, lives and works in England and is gen- 

 erally counted as an English artist to shock French officialdom to such an extent 

 by his Oscar Wilde tomb for the Pere Lachaise cemetery, that steps were actually 

 taken to prevent the unveiling of the monument, which, not without good reason, 

 was considered unfit for exposure to public view. 



Perhaps the most important event connected with the sculpture of 1911-1912 was 

 the completion of Stevens's Wellington Monument in St. Paul's Cathedral. After a 



miserable history of blundering extending over 45 years the screens were 

 T$ e nj rt removed from round the completed memorial on January 24, 1912. It 

 Memorial? will be remembered that Alfred Stevens (E. B. xxv, 905) died leaving 



the work completed with the exception of the bronze equestrian statue 

 that surmounts the whole. Fortunately he had prepared a model for this, and Mr. 

 John Tweed, who was commissioned to complete the work, has followed and developed 

 the suggestions of the great sculptor. The result is, however, hardly as happy as could 

 be wished. The Renaissance style of horse is in keeping with the rest of the monu- 

 ment; but the figure of the Duke is perched high upon the horse's withers, and the 

 little stumpy legs are drawn up, making the figure of ill proportions and unpleasing 

 gesture. The light moreover is too bad properly to illuminate the monument. It 

 is significant of the heightened interest now taken in sculpture, that attempts are 

 being made to discover and preserve the scattered works of Stevens. During No- 

 vember and December 1911 and January 1912 an exhibition of his paintings and draw- 

 ings was held at the Tate Gallery; and on November 15, 1911 Sir William Richmond, 

 on behalf of the Stevens Memorial Committee, presented to the trustees a bust of 

 Stevens by Professor Edouard Lanteri. A cast of Stevens's magnificent chimney piece 

 at Dorchester House has also been placed in the Tate Gallery. The interest in Stevens 

 has been largely promoted by the labours of the Memorial Committee, and more 

 especially by the inspiration of the late Alphonse Legros. 



The revolutionary influence of Auguste Rodin has become more marked during 

 the last three years, and the publication of several books dealing with the work of 



this sculptor has stimulated the desire to break away from traditional 

 influence. orthodoxy. This movement has been felt both in Europe and America, 



and though due in part to the influence of the great French sculptor, it 

 must be regarded as the outcome of the general state of unrest and upheaval which 



