It is
the best possible collection under existent conditions.
Its many sources of inspiration - all European, like the sources of our
racial origin - are clothed in outward resemblances of the styles and
tinged with the thought of the masters, old and new, who constitute
Precedent. Thus, in sculpture we have imitations, conscious or
unconscious, of the Greek, of Michael Angelo, Donatello, Rodin, Barye,
Meunier, Saint Gaudens; in painting, of Besnard, Merson, Monet, et
cetera, as well as some more complex personal notes, more difficult to
relate, although they too are related in the main, adding only another
variation of character to the great mass of human ideality. As in
nature, there is nothing absolutely pure - nothing that can exist
totally unrelated to the whole - so it is in art. Its works should be
judged, not by their absolute adherence to any so-called standard, but
finally by the appeal they make to the receptive and unprejudiced mind.
Be brave, Mr. Critic - Madame Public, think for yourself, at the risk of
ridicule. Be not ashamed to admire what appeals, before learning its
author, and when it no longer appeals leave it without remorse.
In this introduction to the sculpture of the Exposition, it is unusually
fitting that grateful recognition be accorded the memory of the sculptor
whose lively faith in our growth, and tireless energy first launched the
enterprise.
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