In relief there may
even be a representation of perspective, the figures seeming to lie
behind each other, flatter and smaller to indicate distance. But we
shall not enter into the technique of this, which obviously approaches
that of painting.
When the charm of the body is the prime object of expression, those
actions and poses which exhibit grace and vigor are the ones naturally
chosen. This beauty is best revealed in the single figure, because in
the group there is usually some dramatic interest which diverts
attention from it. The figure is preferably wholly or partially
undraped, or when drapery is used, it should reveal the body underneath
and possess beauty of line of its own. Elaboration of drapery for its
own sake, or in order to display virtuosity in modeling, shows lack
of true sculptural vision, which always has its eye on the naked form.
Aside from lack of charm, the old and crippled are avoided because
their inharmonious lines would appear again in a statue which reproduced
them; it is not possible, as in painting, to make a harmony out of
them through relation to other lines in the total work, for no other
lines exist; nor can their natural ugliness be so easily made acceptable
through beauty of color and light. Nevertheless, no one can dogmatically
assert that the artist must confine himself in his choice of subjects.
If by harmonizing the distorted lines of an ugly body with each other,
and by enhancing the given purity and expressiveness of his material,
the artist can create a beauty of form overlying the repellence of the
subject, and if he can make us feel the tragedy or pathos of age and
disease, no one can gainsay his work.
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