The Call to Arms (American art and American art collections)

Drawing titled The Call to Arms published in Art Anatomy (1884)
Identifier: americanartamer01mont (find matches)
Title: American art and American art collections; essays on artistic subjects
Year: 1889 (1880s)
Authors: Montgomery, Walter
Subjects: Art Artists Art
Publisher: Boston, E.W. Walker & co
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries



Text Appearing Before Image:
st, and both are par-ticularly interesting, because of their original treatment. Morning is represented as a surprisedinfant joyously held up by a winged youth. The Evening falls like a strong man in despairingresistance. To certain natures the inevitable is hard to accept. The Tri-Mountain is the first sketch of a monument which the sculptor desired to erect inBoston. He made many studies in clay of this powerful and splendidly composed group, butthey were all destroyed. Could it have been executed with anything like his full capacity, itwould have made the city famous. The Study of nude figures, also given with the first article,is regarded by many artists as one of Dr. Rimmers best works. The left-hand figure, as youlook at the drawing, suggests in its pose a sentiment which is very characteristic of him. The Venus and Ctifiid is a fac-simile of a hastily made study in pencil. The same subjectwas painted large size, and exhibited in New York and Boston many years ago, but the color
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o En o H ae- in ¥ If ;p AMERICAN ART 347 was not satisfactory to the artist, and he therefore painted another picture over it. As a com-position, although original in spite of the hackneyed subject, it is not as forcible as many ofhis other productions. The Call to Arms is taken from the Art Anatomy, to be spoken ofhereafter, and is one of Dr. Rimmers most elaborate drawings, as well as one of his finest andbest considered compositions. In no subjects, indeed, that the artist treated, is there such adisplay of a rare genius for handling compositions containing many figures, masses, and motives,as in battle scenes. It will ever be regretted that they were not made on a large scale, insteadof being left in the form of slight pencil sketches. The Victory (see tail-piece), although onlya hastily made pen-and-ink study, will give some idea of the vigor, directness, and concentra-tion with which he treated subjects expressive of action. Another remarkable drawing exhib-ited