Foreword
What accents itself in the mind of the layman who makes even a cursory
study of the sculptors and their works at the Panama-Pacific
International Exposition is the fine, inspiring sincerity and uplift
that each man brings to his work. One cannot be a great sculptor
otherwise.
The sculptor's work calls for steadfastness of purpose through long
years of study, acute observation, the highest standards, fine
intellectual ability and above all a decided universalism - otherwise
the world soon passes him by.
It is astonishing to see brought together the work of so many really
great sculptors. America has a very large number of talented men
expressing themselves on the plastic side - and a few geniuses.
The Exposition of 1915 has given the world the opportunity of seeing the
purposeful heights to which these men have climbed.
We have today real American sculpture - work that savors of American
soil - a splendid national expression.
Never before have so many remarkable works been brought together; and
American sculpture is only in its infancy - born, one might say, after
the Centennial Exposition of 1876.
The wholesome part of it all is that men and women are working
independently in their expressions. We do not see that effect here of
one man trying to fit himself to another man's clothing. The work is all
distinctly individual. This individualism for any art is a hopeful
outlook.
The sculpture has vitalized the whole marvelous Exposition. It is not an
accessory, as has been the sculpture of previous Expositions, but it
goes hand in hand with the architecture, poignantly existing for its own
sake and adding greatly to the decorative architectural effects. In many
cases the architecture is only the background or often only a pedestal
for the figure or group, pregnant with spirit and meaning.
Those who have the city's growth at heart should see to it that these
men of brain and skill and inspiration are employed to help beautify the
commercial centers, the parks, the boulevards of our cities.
We need the fine lessons of beauty and uplift around us.
We beautify our houses and spend very little time in them. Why not
beautify our outside world where we spend the bulk of our time?
We, a pleasure-loving people, are devoting more time every year to
outside life. Would it not be a thorough joy to the most prosaic of us
to have our cities beautified with inspiring sculpture?
We do a great deal in the line of horticultural beautifying - we could
do far more - but how little we have done with one of the most
meaningful and stimulating of the arts.
Let us see to it, in San Francisco at least, that a few of these works
are made permanent.
Take as an example James Earle Fraser's "End of the Trail." Imagine the
effect of that fine work silhouetted against the sky out near Fort
Point, on a western headland, with the animal's head toward the sea, so
that it would be evident to the onlooker that the Indian had reached the
very end of the trail. It would play a wonderful part in the beauty of
the landscape.
Or take Edith Woodman Burroughs' "Youth." What a delight a permanent
reproduction of that fountain would be if placed against the side of one
of the green hills out at Golden Gate Park - say near the Children's
Playground - with a pool at its base. It is only by concerted action
that we will ever get these works among us. Who is going to take the
lead?
