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Tasso (search for this): chapter 23
ella through a large room containing numerous productions of Mr. Gibson's genius, a garden filled with orange and lemon trees and various flowers, a fountain trickling in a shady recess, then the master's studio, and from this by a flight of stairs within a curtain,--nature, imagination, and labor, all at one. She remained seven years in the studio of her teacher and friend. The first winter in Rome was spent in modelling from the antique. The Venus of Milo, the Cupid of Praxiteles, and Tasso of the British Museum, were copied, in which the pupil proved the correctness of her eye, the soundness of her knowledge, and power of imitating the roundness and softness of flesh, which Mr. Gibson on one occasion stated he had never seen surpassed and rarely equalled. Her faculty of original conception had been evinced before in Hesper. Her first design was the bust of Daphne, the beautiful maiden changed into a laurel when fleeing from Apollo, after the god had slain her lover, beseec
L. Maria Child (search for this): chapter 23
curacies in regard to several of the alleged facts. The notice of Tuckerman, in his book of American artist life, is quite too meagre to be just and valuable. Mrs. Child, who was a family friend, and at one time nearest neighbor of Dr. Hosmer, and who wrote in his house, furnished a very pleasing and reliable sketch. Great careiliar with every part of the process. The likeness and workmanship are both good. Soon afterwards she commenced Hesper,--her first original and ideal work. Mrs. Child, who saw it in the garden studio in the summer of 1852, by Dr. Hosmer's invitation, gives the following account of its execution and description, which were pubd enthusiasm, should accompany her there, and leave her, returning himself to his profession. She rode on horseback to Wayland to bid farewell to her friend, Mrs. Child, and said, in reply to the questions, Shall you never be homesick for your museum parlor in Watertown? Can you be contented in a foreign land? I can be happy
Shakespeare (search for this): chapter 23
But the course of true art, like that of love, does not always run smoothly. The resources of Dr. Hosmer were not inexhaustible; the expenses of the artist's residence and pursuits in Rome were large; financial embarrassments were encountered; and retrenchment was urged with emphasis from home. In these circumstances she remained to prosecute her labors with the aim to produce some work of such attractive character as should secure immediate returns. The result was Puck, described by Shakespeare's fairy:--Either I mistake your shape and making quite, Or else you are that shrewd and knavish sprite Called Robin Good-fellow; are you not he That fright the maidens of the villagery; Skim milk; and sometimes labor in the quern, And bootless make the breathless housewife churn; And sometimes make the drink to bear no barm; Mislead night-wanderers laughing at their harm? Those that Hobgoblin call you, and sweet Puck, You do their work; and they shall have good luck. It is about the s
Layard (search for this): chapter 23
rmitted to erect a mortuary monument in the church of San Andrea del Fratte. The design was entrusted to Miss Hosmer. It was modelled in clay in the winter of 1857, and executed in marble a year later. It is a portrait statue of the daughter, the figure of a beautiful maiden, resting upon a sarcophagus, in the sleep that has no waking. In this production the still repose of death is finely contrasted with the breathing slumber of life, which even the stone expresses in Beatrice Cenci. Mr. Layard, distinguished for his explorations in Nineveh, thus speaks of it in a letter addressed to Madame Falconnet: I think you may rest fully satisfied with Miss Hosmer a success. It exceeds any expectations I had formed. The unaffected simplicity and tender feeling displayed in the treatment is all that could be desired for such a subject, and cannot fail to touch the most casual observer. I scarcely remember ever to have seen a monument which more completely commanded my sympathy and more
Milo (search for this): chapter 23
she occupied was from the Via Fontanella through a large room containing numerous productions of Mr. Gibson's genius, a garden filled with orange and lemon trees and various flowers, a fountain trickling in a shady recess, then the master's studio, and from this by a flight of stairs within a curtain,--nature, imagination, and labor, all at one. She remained seven years in the studio of her teacher and friend. The first winter in Rome was spent in modelling from the antique. The Venus of Milo, the Cupid of Praxiteles, and Tasso of the British Museum, were copied, in which the pupil proved the correctness of her eye, the soundness of her knowledge, and power of imitating the roundness and softness of flesh, which Mr. Gibson on one occasion stated he had never seen surpassed and rarely equalled. Her faculty of original conception had been evinced before in Hesper. Her first design was the bust of Daphne, the beautiful maiden changed into a laurel when fleeing from Apollo, after
Louis Napoleon (search for this): chapter 23
know where the spirit of adventure had led her; and her arrival at St. Louis again was the relief of their anxiety. These happy months over, she returned to her father's house and her art. Ever ready to indulge and facilitate her purpose, Dr. Hosmer fitted up a small studio for her convenience in — his garden, which she called facetiously her shop. There she wrought out various contrivances of mechanical ingenuity, and produced her first work in marble,--a reduced copy of Canova's bust of Napoleon, for her father. The labor was performed by her own hands, that she might be practically familiar with every part of the process. The likeness and workmanship are both good. Soon afterwards she commenced Hesper,--her first original and ideal work. Mrs. Child, who saw it in the garden studio in the summer of 1852, by Dr. Hosmer's invitation, gives the following account of its execution and description, which were published in the New York Tribune, under the caption, A New star in the A
Maria Alford (search for this): chapter 23
and admirably executed. The Waking Faun, a companion piece, at a recent date was only clay. It is owned, with a second copy of the former, by Lady Ashburton, of England. Another classic and beautiful work was a fountain designed for Lady Maria Alford. A figure of a woman, a siren, sits above the centre of the basin, which holds the water, singing. Below are three pleasing little figures, mounted on dolphins, which lie on the broad leaves of aquatic plants, enchanted by the music. An literature as she does in art,--that she would have wielded the pen with as much skill and power as she does the chisel of the statuary. Evidences of this are found in her correspondence. She has published a beautiful poem, dedicated to Lady Maria Alford of England, and a well-written article, in the Atlantic monthly, on the Process of Sculpture, perspicuous and philosophical in its treatment of the subject. In it she defends women-artists against the impeachments of their jealous brothers
Rosa Bonheur (search for this): chapter 23
had gained fawm. in Italy, on the stand which she had made for it. While she was thus securing physical health and power of endurance, her mind was growing as well; but not without certain incidental disadvantages from the free, wild, and even rude manner of its development. Books did not suit her active temperament and her taste for concrete things. Of education and culture in the sense of the schools, during the years of, childhood, she had little. In this respect she resembles Rosa Bonheur, who found her early education chiefly in the lessons of nature learned out of doors. Her sports and the prophetic labors of the clay-pit beguiled many of the hours of study; and, very naturally, through her unrestrained liberty and occupations usually regarded as suitable only for boys, she acquired much of the character and manners of a brave, roguish boy. She was an intractable pupil, and if the report is correct was expelled from one school, and given over as incorrigible at another.
Wayman Crow (search for this): chapter 23
aterials from which it is composed are derived from much correspondence, for which we are under special obligations to Wayman Crow, Esq., of St. Louis, the early friend of the artist, and to Dr. Alfred Hosmer, her kinsman, now of Watertown, Mass.; frsuit of science in St. Louis. At Lenox she had formed an affectionate intimacy with a school-mate, the daughter of Mr. Wayman Crow, an eminent citizen of that city. An invitation to visit there had incidentally opened way to the scientific privilover, beseeching the earth to swallow her up. It is now in the possession of her liberal patron and friend of St. Louis, W. Crow. It was speedily followed by the Medusa, represented as she was before she was transformed into a gorgon. The hair, possesses,--a public statue by a woman,--a little woman,--young, with great talent and love of her art. A letter of W. Crow, written the day after the inauguration, states that the general expression of the thousands who saw it was favorable.
Zenobia (search for this): chapter 23
higher achievements in the realms of art. During this visit her mind was much occupied with the design of a statue of Zenobia, Queen of Palmyra, as she appeared when led in chains in the triumphal procession of Aurelian. She searched libraries e, the commanding effect of which grows upon the mind,--a triumph of patient study, of genius, and of mechanical skill. Zenobia is represented walking. The movement has blended lightness, vigor, and grace. The left arm supports the drapery, whichhat occasion was retained by the exhibitors. Very few productions of the modern chisel have excited so much remark as Zenobia. There is an almost romantic story connected with its exhibition in London. The critics recognized its merits, but denich more assistance had been bestowed than was considered legitimate by every sculptor. A large price was offered for Zenobia by the Prince of Wales; but the author said, It must go to America. She received five thousand dollars from the proceed
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