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The Sculptor Speaks (Paperback, Illustrated Ed)
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The Sculptor Speaks (Paperback, Illustrated Ed)
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THE SCULPTOR SPEAKS JACOB EPSTEIN TO ARNOLD L. HASKELL A series of
conversations on Art GARDEN CITY NEW YORK DOUBLEDAY, DORAN AND
COMPANY, INC 1932 SELF PORTRAIT 1920 Dedicated by the Author to
MRS. JACOB EPSTEIN CONTENTS INTRODUCTION Arnold L. Haskell i
CHAPTER I. ON ART CRITICISM AND THEE WRITING OF BOOKS I II. MAINLY
AUTOBIOGRAPHICAL. EARLY DAYS PARIS THEE STRAND STATUES THEE OSCAR
WILDE MEMORIAL. IO III. A DISCUSSION ON BEAUTY RIMA. A RESUME OF
THE CRITICISM OF RIMA 2.1 IV. THE STATUE OF CHRIST 3 3 V. NIGHT AND
DAY. A RESUME OF THE CRITICISM OF NIGHT AND DAY 40 VI. IN THE
STUDIO ON PORTRAITURE PSYCHOLOGY AND ART MODELLING AND CARVING
NAMING A WORK DISTORTION IN ART 56 VII. PRIVATE VIEW DAYS GENESIS A
DISCUSSION ON BAROQUE SCULPTURE AFRICAN ART THE MEANING OF
INFLUENCES IN ART JJ VIII. PUBLIC MONUMENTS PICASSO PRIMI TIVE ART
PERIOD AND NATIONAL ITY SUBJECT MATTER IN ART CONTENTS continued.
CHAPTER PAGE SENSUALITY RUDE AND LA MAR SEILLAISE 95 IX. PAST AND
PRESENT MICHAEL ANGELO AND DONATELLO RODIN BRANCUSI MODIGLIANI
MAILLOL GAUDIER - BR ESKA HENRY MOORE IIJ X. CHARACTERISTICS OF
GREAT ART TRADITION AN INTRODUCTION TO THE APPRECIATION OF ART 134
XI. AMERICA AND AMERICAN SCULPTURE 148 Appendix I. An article by
the late T. E. Hulme. Appendix II. Catalogue raisonn6 of the works
of Jacob Epstein, 1907-1931. Appendix III. Exhibitions held by
Jacob Epstein, ILLUSTRATIONS PAGE SELF-PORTRAIT Frontispiece SUNITA
charcoal drawing faing iv THE MADONNA AND CHILD xi THE SERAPH 4
ELLEN JANSEN IO THE LITTLE NEGRESS pencil drawing 12 PROFESSOR JOHN
DEWEY 21 MAY 26 RIMA 29 DAME SYBIL THORNDIKE 34 DAY 47 NIGHT 50
ESTHER 55 THE RT. HON. THE VISCOtJNT ROTHER MERE, P. C. 59 THE SICK
CHILD 6l .-THEVISITATION 63 THE RT. HON. JAMES RAMSAY MAC DONALD,
P. C. 68 THE MADONNA AND CHILD detail 70 MARCHESA CASATI 78 GENESIS
3 82 ILLUSTRATIONS continued PAGE THE HON. STEPHEN TENNANT facing
84 BIBLICAL SUBJECT pencil and wash drawing 91 ISRAFEL 3, 94 DUKE
OF MARLBOROUGH 99 A PORTRAIT, , 1 08 ELSA LANCHESTER 112 MIRIAM 117
PUTTI 122 DR, CRAMER iz6 JOAN GREENWOOD 131 DAISY DUNN 135 PAUL
ROBESON 139 MIRIAM PLICHTE 143 LYDIA 150 AFTER TWO DOVES 169 AFTER
THE CHRIST 3 175 AFTER THE SUN GOD, 190 AFTER LYDIA 191
INTRODUCTION I CANNOT in this introduction explain Epstein, and in
his own conversation Epstein cannot and does not attempt to explain
himself. The French painter Vlaminck summed up the situation
admirably when he said La bonne peinture cest comme de la bonne
cuisine, ca se goute mais a ne sexplique pas. We can only hint. His
work is there for all to see. It is extremely unlikely that this
book will convert anyone to the view held by the writer of this
introduction that Jacob Epstein, almost alone in the world to-day,
holds the secret of true beauty, and that his work like all things
truly beautiful will endure without relying in any way upon fashion
for its appreciation. It may well be that so positive a statement
of belief at the very beginning of this study does my subject a
disservice in the eyes of the reader not prepared to follow me to
such lengths, or who may well already be in positive and violent
disagreement with me. But I have reached my conclusion after very
many years and a close study of all the work, and I am therefore
unwilling to state it in a more INTRODUCTION subtle and roundabout
manner, were that possible. There is altogether too much vague and
incon clusive writingon art, and enthusiasm is too often carefully
hidden under a mass of so-called technical jargon. I am not
prepared to call every work of the sculptor a masterpiece, just
because it is signed Epstein to do that would most surely infuriate
the artist, and under such conditions this book would never have
been written. But my position with regard to Epsteins vision is
clear, and I stress it fully conscious of the risk of losing
sympathy at the outset...
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