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The craftsman
Vol. VII, No. 5 (February 1905)

Book reviews,   pp. 613-621 PDF (2.8 MB)

Page 620

[Human Work, by Charlotte Perkins Gil-
man, New York: McClure, Phillips &
Company. Price $1.5o net.]
  The following sketch of the life and
works of the sculptor Bartoldi was taken
from a recent number of Art et Dfcora-
   Bartoldi was born at Colmar, of Al-
sacian parentage, on the second of April,
1834. At the beginning of his career he
served an apprenticeship as a designer in
the office of an architect. His education
as an architect prepared him, in spite of
himself, for his vocation, teaching him in
advance and unconsciously the logic of the
monumental, equilibrium of masses, clear-
ness, accent and summary decisiveness of
outline and of rendering.
  On his arrival in Paris, Bartoldi aban-
doned architecture for painting, and later
for sculpture; leaving the studio of Ary
Scheffer for that of Soitoux. This artist,
with his austere and dignified talent, was
precisely the master needed by Bartoldi.
  Bartoldi supplemented his studies by
travel. He visited, with G6r6me, Greece,
Egypt and the Orient. The art of the
sculptors of basalt and granite, of the old
masters of calm and monumental sculp-
ture, gave him a broad and simple manner
of looking at things, and without doubt
there is a certain relationship between his
Liberty Lighting the World or his Lion
of Belfort and the Sphinx of Gizeh, sculp-
tured on the confines of the Libyan Desert,
the Colossi of Thebes and the mutilated
Giant of the Rhameseum, in the ear of
which statue a man can easily recline.
  Bartoldi exhibited in 1853 a Good
Samaritan, in 1855 the Seven Swabians, in
1857, on returning from his travels, the
African Lyre (Museum of Lyons), and
later, a statue of Arrighi, Duke of Padua,
a mortuary statue of Sorrow, a statue of
Champollion (College of France), the
Pleasures of Peace (New York), a Ver-
cingetorix (Museum of Clermont). He
had already revealed his natural taste for
heroic statues and for monumental com-
position in the Fountain at Bordeaux
(1858), in the portrait statue of General
Rapp, in the monument surmounted by the
figufre of Admiral Bruat, both at Colmar,
in the monument to Martin Sch6ngauer,
which decorates the quadrangle of the old
convent of the Unterlinden, and of which
a local society of collectors of books and
engravings defrayed   the expense.   At
about this time he took part in the com-
petition instituted by the city of Mar-
seilles for the construction of the Palace of
Longchamp. M. Esp~randieu, in charge
of the enterprise, recognized the merit of
Bartoldi's plans and utilized them. Mar-
seilles did Bartoldi the injustice of for-
getting his name at the inauguration cere-
mony and in the memorial inscription.
Very sensitive to this lack of courtesy, the
sculptor, long and persistently demanded
reparation and finally the Cabinet did him
  During the war with Germany, he or-
ganized the National Guard at Colmar. and
later, in the position of Government Com-
missary of the national defense, directed by
Garibaldi, took part in the engagements of
the army of the Vosges. Subsequent to
that time he received most of his inspira-
tion from his wounded patriotism and from
his memories of the war.
  His first works after 1871 were: The

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