CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 FINE ARTS LIBRARY 
 
Cornell University Library 
 99.T85A51 
 
 catalogue of sculpture by Prince Paul Tr 
 
 3 1924 020 568 816 
 
The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924020568816 
 
CATALOGUE OF SCULPTURE 
 
 BY PRINCE PAUL TROUBETZKOY 
 
Mmunm-nt of 
 
 tlie hmperur Alcxan.kr JTI (1R81-1S94) 
 I'laci- Znamicn.skaia, St. Petersburg 
 Ue'licateil June 5, iqoq 
 
CATALOGUE OF SCULPTURE 
 
 BY PRINCE PAUL TROUBETZKOY 
 
 EXHIBITED BY 
 
 THE AMERICAN NUMISMATIC SOCIETY 
 
 AT THE HISPANIC SOCIETY OF AMERICA 
 
 FEBRUARY 12 TO MARCH 12, 1911 
 
 WITH INTRODUCTION BY 
 CHRISTIAN BRINTON 
 
 
 0W& <^> 2$ t ■ 
 
 THE AMERICAN NUMISMATIC SOCIETY 
 NEW YORK 1911 
 
Copyright, ign, by 
 The Hispanic Society 
 
PAUL TROUBETZKOY 
 
 BY 
 CHRISTIAN BRINTON 
 
!* i -*> - ? ff - . 
 
 Project for a monument of the Emperor Alexander TT, 
 
 Czar of Russia 1S55 to 1 SS 1 , 
 
 who from 1858 lo 1861 emancipated 23,000,000 serfs 
 
PAUL TROUBETZKOY 
 
 I 
 
 BIOGRAPHICAL 
 
 THE creator of the spirited and graphic phase of 
 modern sculpture which is herewith collec- 
 tively presented for the first time in America was 
 born February 16, 1866, at Intra, Dago Maggiore. 
 1 lie second sun of Prince Pierre and Princess Ada 
 Troubetzkoy, nee Winans, his childhood and youth 
 were passed amid the picturesque surroundings of 
 his birthplace, where nature and art seem to have 
 achieved their own serene and indissoluble unity of 
 form and color. Despite the tact that there were 
 no specific esthetic proclivities in his immediate ances- 
 try, the boy's artistic instincts manifested themselves 
 at the conspicuously early age of six, that which first 
 aroused his interest in such matters being the visit 
 to the family home of a well-known Italian portrait- 
 ist who was engaged in painting likenesses of his 
 
 l 3 a 
 
parents. Though he was fond of drawing, and had 
 also amused himself by cleverly tinting the counte- 
 nances of a set of marionettes with which lie and his 
 brothers used to play, it was, however, sculpture that 
 attracted him most. lie began modeling in soft 
 bread, and later in wax, his subjects being the heads 
 of dogs and cither domestic pets so plentiful around 
 the house. Desiring to widen the scope <>f his activ- 
 ity, he next chose as model a tattered mendicant who 
 used t<> loiter about the villa ,^'ates, and whom he 
 bribed to pose bv offering him his own dessert of fruit 
 or sweets, an act of epicurean abnegation sufficiently 
 rare in a child not vet in the teens. Although strong, 
 healthy, and devoted to exercise in the open air, par- 
 ticularly tramping or riding among the mountains 
 and along the lake front, lie was uncommonly ab- 
 sorbed in his chosen task, and tried his hand by turn 
 at every sort of theme. Having completed an excep- 
 tionally faithful and lifelike head of a horse, his 
 mother, who had thus far regarded the boy's efforts 
 mainly in the light of juvenile diversion, became so 
 impressed by his ability that she was moved to take 
 the work to Milan, where she submitted it to the 
 inspection of the sculptor Grandi. With the ready 
 discernment of a practised executant. Grandi at once 
 pronounced the hit of wax a production of youthful 
 
Project for a monument of Haute 
 
The Grand Duchess Serge 
 
genius, and urged the lad's mother to allow him to 
 pursue the vocation of an artist. 
 
 Though from the outset she had sympathized with 
 his tastes and encouraged his efforts, the question of 
 his embracing art as a profession was quite a different 
 matter and < me up< >n which the b< >v's father, m< >re< iver, 
 held decided views. His eldest son and namesake, 
 Pierre, having already been granted permission to de- 
 vote himself to painting, it was the prince's wish that 
 the second should adopt a military career, and with this 
 end in mind sent him at seventeen to his relatives 
 in Russia, with the hope that a change of scene would 
 lessen his growing enthusiasm for artistic pursuits. 
 As might, however, have been expected in a youth 
 possessed of such pronounced talent and individuality, 
 the reverse proved to be the case, and after a limited 
 sojourn he was somewhat reluctantly allowed to re- 
 turn to Italy and begin his studies at Milan. His 
 interest at this period was equally divided between 
 color and form, and for a wdhle he took lessons of 
 the painter Ranzoni. Yet not wishing to follow too 
 closely in the footsteps of his brother, who was 
 shortly to establish himself in England and later in 
 America, he finally decided to adopt sculpture as his 
 definite esthetic medium. 
 
 That which may be called the formal artistic ap- 
 
prenticeship of Paul Troubetzkoy was a brief though 
 typical episode, lie started as a pupil of Barcaglia, 
 hut, being essentially restless and independent of tem- 
 perament, left after a few days and joined the classes 
 of Ernesto Pazzaro at the Brera. It was the same 
 story again, for at the end of two months' repellent 
 routine he turned his hack squarely upon conven- 
 tional instruction and, taking a studio hv himself, set 
 to work entirel}' upon his own account. The simple 
 fact of the case is that the young man already had 
 definite ideas on sculpture as well as on many other 
 points. From infancy almost he had been training his 
 innate!}' remarkable powers of observation and hand- 
 ling and had evolved a highly personal mode of ex- 
 pression. His free, outdoor nature rebelled against 
 the restricted atmosphere of the atelier. The sub- 
 jects given, moreover, did not enlist his interest in 
 the least degree, as he much preferred the lithe grace 
 of hound or horse to the sterile immobility of the 
 customary plaster cast. Once he realized the empty 
 and s,,ulk-ss character of academic tradition, he did 
 not hesitate, and thenceforth chose only such themes 
 as arou-td his keenest artistic enthusiasm, and strove 
 to interpret them after his own vivid fashion. 
 
 His first important appearance was in 1886, at the 
 Palazzo rli Brera. when he exhibited the figure of a 
 
The Grand Duke Andre Vladimirovich 
 
Prince Leon Galitzin 
 
hurse, which, despite its freedom of execution, was 
 well received. Encouraged by this success, he was 
 even more cordially welcomed the following spring 
 in Venice. It is true that his broad, impressionistic 
 style aroused a certain amount oi opposition among 
 official circles, yet from the very beginning it also 
 found warm partizans. Though he meanwhile sent 
 work to the various current Italian exhibitions, it 
 was not until [894, when his "Indian Scout" was 
 -ecu in Rome, that he achieved what may be called 
 substantial public recognition. Awarded the gold 
 medal, and later purchased for the Gallery of Modern 
 Art in the Italian capital, the group for numerous 
 reasons marks an epoch in the development of Prince 
 rroubetzkoy's art. Following his invariable custom, 
 )oth rider and horse were modeled direct from life, the 
 iriginals having been discovered in the picturesque 
 ranks of Buffalo Hill's Show, which had visited Milan 
 die previous season. In nothing that he had hitherto 
 undertaken did the sculptor more emphatically evince 
 iiis contempt for convention and his ability to cope 
 with an entirely novel subject. As may he inferred, 
 lis range during those eager, acquisitive years was 
 .uncommonly wide. Having conquered his position as 
 in interpreter of animal form, he next turned his 
 :nergies to portraiture, the bust of Signor F. Game- 
 
roni being one of the earliest in date as well a 
 the must vigorously conceived of a long series o 
 similar works. Themes which enlisted equal interes 
 were the endearing intimacy of domestic life and tin 
 aristocratic charm ol young womanhood, and in botli 
 ol these fields he was quick to reveal qualities whicl 
 won for him the increasing consideration of pre.v 
 and public. As an example of that innate distinction 
 of style which has since become so instinctively asso- 
 ciated with his name, reference must here be made 
 to the seated figure of Mine. Hoerneimer, the origi- 
 nal version of which bears the date of 1893, and 
 which already reveals him in complete possession of 
 his power of gracious, spirited presentation. And 
 furthermore, nothing could give a better idea of the 
 young man's astonishing versatility than a realization 
 of the fact that he was capable of modeling in th 
 same year two such radically opposite works as (lit 
 austere "Indian Scout" and the exquisitely instanta- 
 neous "Mme. Hoerneimer." 
 
 The almost equally attractive full-length of Si- 
 gnorina Erba, shown at Venice in 1805, was followed 
 by two works in bronze, one a head and the other; 
 female figure, which were seen at the Esposizione di 
 Belle Aiii at Florence in 1896. In common wit! 
 other members of the younger Italian school, Prince 
 
 lA-0 
 
ilstny im hiirscliack ( 1S99) 
 
Troubetzkoy was not slow to appreciate the progress- 
 ive policy oi the Venice International Exhibitions, 
 and has from the beginning been regularly repre- 
 sented at these admirable biennial displays, which 
 easily rank as the best in Europe. Although thus far 
 classed as an Italian, and specifically a Lombard 
 sculptor, Paul Troubetzkoy could not lay claim to a 
 single drop of Latin blood, and as his powers ma- 
 tured he felt more and more strongly the call of his 
 dual racial heritage. Ever restless and desirous of 
 change, lie first decided to try his fortune in America, 
 the home of his mother's family; hut, at the instance 
 of relatives in Moscow, eventually settled in that 
 typically Russian city in the spring of [897. The 
 move proved an auspicious one, and his success was 
 almost immediate, his initial commission being for a 
 full-length figure of the Grand Duchess Elisabeth 
 Feodorovna, wife of the Grand Duke Serg'e Alexan- 
 drovich, Governor-General of Moscow, and his next 
 being a bust of Count Tolstoy, of whom he later 
 made several searching and powerful portraits. 1 lis 
 meeting' with Tolstoy proved of more than ordi- 
 nary moment, for though the younger man had 
 never read a line of the great, troubled humanita- 
 rian's writings, they quickly became friends, already 
 sharing many ideas and sympathies in common. The 
 
 ClO 
 
first summer the sculptor passed in Russia he spent 
 several days at Vasnaya Polyana, and at main- sub- 
 sequent intervals lias visited the count, modeling bis 
 rugged, thought-seamed countenance and being his 
 close companion in long rides about the country, or 
 indulging in earnest discussion on various topics, 
 social, esthetic, and dietetic. On one occasion the 
 count presented the sculptor with an autograph copy 
 of one ol Ins hooks, only to discover later that it 
 had remained unopened for several months. Yet 
 instead of taking offense, as would have been the case 
 with the average small-minded author, Tolstoy ac- 
 cepted the situation with wholesome humor, remark- 
 ing trenchantly: "Good; if you never read, then you 
 are sure to remain original; you do not run the risk 
 of having your ideas spoiled by the ideas and opinions 
 i if others." 
 
 The reception accorded the first work which he 
 executed on his arrival in Russia shortly led to Prince 
 Troubetzkoy's appointment as professor of sculpture 
 at the Imperial Academy of the Fine Arts in Mos- 
 cow, a position which he proceeded to fill in a manner 
 as characteristic as it was unique. He is particularly 
 fond of relating the episode in detail, as it is typical 
 of hi.s attitude toward art and artistic instruction in 
 general, and nothing could convey a more adequate 
 
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Bust of Tolstoy (plaster) 
 
impression of the incident than his own vivid phrase- 
 nicy)-. "Urged to become professor oi sculpture in 
 the Moscow Academy, I at first declined the honor. 
 While I thanked the director and faculty for having 
 thought of me in this connection, I explained to them 
 that, never having consented to have a teacher for 
 myself, 1 could not dream of teaching others. I was 
 working at the time on a bust of Tolstoy, and the 
 master, to whom 1 confided my decision, gave Ins 
 hearty approval, for he was the arch-enemy of every- 
 thing that might tend to fetter the development of 
 personality. Yet, after mature consideration of the 
 proposal, I ended in accepting. Tolstoy was naturally 
 astonished at my unexpected move, but when I told 
 him my reasons, he concluded that, after all, I was 
 perhaps right. As a matter of fact, by occupying the 
 position myself, I foresaw that f could effectually 
 prevent some other professor from exercising his 
 influence upon the pupils to the detriment of their 
 natural gifts and instinctive freedom from conven- 
 tion, I then went to the school and found there a 
 large room so filled with casts from the antique that 
 the pupils had only the narrowest sort of space in 
 which to work. 'What are you doing with all this 
 trash?' f exclaimed. 'Instead of going direct to na- 
 ture as you should, you are simply wasting your time 
 
copying other people's copies of nature. Great as the 
 ancients may have been, they will never furnish you 
 with the inexhaustible resources offered by nature in 
 her infinite beauty and diversity. And. moreover, 
 ii these illustrious artists have left immortal mas- 
 terpieces, it is merely because in their day they did 
 nothing but faithfully interpret the material furnished 
 them by life.' I at once ordered them to rid the 
 atelier of the useless stuff and substitute in its place 
 living models only. The students thus had room in 
 which td breathe and work, and I did not bother 
 myself about them any mure. The outcome was very 
 simple. When I came to the school there were some 
 sixty pupils. At the close of the first term there re- 
 mained only three. All that were not able to develop 
 of themselves bv reason of innate talent had left. 
 and I verily believe that in the end there remained 
 hut one. Well, do vnii not think it was better so. J 
 As for me, 1 am convinced that a single true artist is 
 worth more than any quantity of mediocrities." 
 
 While his success as a preceptor was somewhat 
 equivocal, the same cannot be said of Prince Trou- 
 betzkoy's own work during lbs residence in Moscow, 
 lie continued as productive as he had formerly been 
 at Milan, and in r8Q9 was represented at the Venice 
 Exhibition by four notable subjects, among them 
 

 
 P.ust n£ I'ulstoy (bronze) 
 
. X. 
 
 ~* 
 
 **v Jfc > 
 
 The t\vu S'ins of the Prince Serge Tronbetzkoy 
 
being the original bust of Tolstoy with folded arms 
 and abstracted gaze, and the "Sledge in the Snow," 
 a welcome pendant to his earlier "Fiacre in the 
 Snow," which had been executed before his depar- 
 ture for Russia. Flattering as had been his reception 
 at A enice, it was nevertheless far eclipsed by the rec- 
 ognition accorded his art the following year on the 
 occasion of the Exposition Qniverselle of 1900. 
 Represented in both the Italian and the Russian sec- 
 tions. Prince Troubetzkoy's triumph at Paris was 
 second to that of no other single individual. Tn the 
 former group he easily held his own beside his 
 colleagues Trentacoste and Romanelli, and though 
 in the Russian section his work was exhibited along 
 with that of such acknowledged masters as Anto- 
 kolsky, Ginsburg, and Bernstamm, it was he who 
 carried off the Grand Prix. The eloquent bust of the 
 lately deceased painter Giovanni Segantini was the 
 most important of his three contributions to the art 
 of the country of his birth. Prominent among the 
 sixteen numbers which collectively won for him the 
 highest honors in the Russian section may be noted 
 a "Tolstoy on Horseback," the massive seated form 
 of Prince Galitzin, and certain delightful studies in 
 animal life and domestic genre. It was a signal suc- 
 cess for a hitherto almost unknown young man in bis 
 
 l 2 3l 
 
early thirties, and in addition to his official award he 
 was further honored by the State's purchase of the 
 Tolstoy for the Luxembourg-, which gallery has since 
 added other works by him to its unrivaled display of 
 contemporary sculpture. He had become at a single 
 bound a figure of international importance in the art 
 world, and it was no little satisfaction to realize that 
 the period of probation was at last definitely passed. 
 Sincere, industrious, and undisturbed by his rapidly 
 increasing vogue, Paul Troubetzkoy next set ear- 
 nestly to work on his model for the heroic equestrian 
 statue of Alexander III, and in 1901, after overcom- 
 ing the most formidable obstacles, found himself the 
 winner of a competition which had been declared 
 open to the world. A characteristic incident occurred 
 in connection with the presentation of his sketch to 
 the committee. lie had labored for many anxious 
 weeks completing the model, but just as he was add- 
 ing a few final touches the figure was accidentally 
 knocked from its base and fell into fragments on his 
 studio floor. The artist was for a moment 011 the 
 point of giving up all thought of entering the lists, 
 but an instant later his incomparable energy of spirit 
 reasserted itself, and, clearing away the debris of his 
 former effort, he began a new model which he fin- 
 ished by morning and took to St. Petersburg himself 
 
Count VVltte 
 
Feodor Chaliapin 
 
the same day. Yet even then his trials were not over, 
 for after he had been decisively declared the winner, 
 he was obliged to defend and explain the impression- 
 istic quality ot his technique to officials whose inher- 
 ent timidity of soul led them to mistrust anything 
 save the smoothest and most matter-of-fact concep- 
 tion of a given subject. In an immense studio espe- 
 cially constructed lor the purpose in St. Petersburg 
 he at last, however, started work upon the full-sized 
 version of the group, having previously spent months 
 in studying the physical appearance and character of 
 the late emperor and in industriously searching the 
 imperial stables for a suitable charger. The statue, 
 which was cast and set in place under the personal 
 supervision of the artist, was formally dedicated with 
 the most impressive military and religious ceremonies 
 on Tune 5, 1909, and may to-day he seen in an im- 
 posing position in the Place Znamienskaia near the 
 Nikolai Station, at the end ot the Nevsky Prospekt. 
 It shows the ^reat Liberator Tsar in the act of re- 
 viewing his troops, and is remarkable alike for its 
 masterly veritv and superb plastic dignity. 
 
 It might readily be assumed that the successful 
 completion of a work of such importance and mag- 
 nitude would have gained for Paul Troubetzkoy 
 further commissions of the sort, yet this unfortu- 
 
 [27 3 
 
nately did not prove to be the case. Despite the strik- 
 ingly effective model which lie executed for the pro- 
 posed monument to Alexander II, he was prevented 
 by official ossification and professional intrigue from 
 receiving the final award, and was thus obliged to 
 turn his hand to less ambitious projects. He had 
 already encountered a like experience earlier in his 
 career regarding similar undertakings, among them 
 the proposed Dante monument for the city of Trent, 
 which had been given to a vastlv inferior colleague, 
 and he was simply paving the usual penalty for orig- 
 inality of conception and scorn of approved conven- 
 tion. If, however, he was temporarily prevented 
 from concentrating his energy upon a single object, 
 his art, in compensation, gained immensely in range 
 and variety. Always faithful to the land of his birth, 
 and sure of a distinguished welcome at Venice in 
 particular, he continued sending his best work to the 
 current exhibitions in the now- famous Palazzo dell' 
 Esposizione, screened amid the verdant and wave- 
 washed Public Gardens. Pie had by this time resided 
 several vears in Russia, and not being altogether 
 satisfied with artistic conditions either in St. Peters- 
 burg or Moscow", finally decided upon another change 
 of location. Though Italy 'offered many inducements, 
 it was to Paris, where he had manv friends, and 
 
 [28] 
 
Anatole France 
 
Helleu 
 
where his reception had already been so enthusiastic, 
 that lie next directed his footsteps. Devoted to his 
 numerous pets, which from time to time have included 
 tame hears, wolves, sheep, and numerous dogs of 
 various breed, he chose a picturesque little house with 
 roomy, well-lit studio and charming" garden, situated 
 at the end of a quiet street not far from the Bois de 
 Boulogne. 
 
 Enjoying continued success, and living in an at- 
 mosphere thoroughly congenial with his tastes, it is 
 here that Prince Troubetzkoy has passed the last half- 
 dozen A'ears. The bears he was obliged to leave 
 behind him in Russia, but his two wolves, the nobly 
 formed Yasca and the younger and more ubiquitous 
 Marguerite, are among his constant companions. He 
 loves his garden with its spreading trees, where one 
 seems so far removed from the vibration of the great, 
 throbbing citv which threatens to envelop him on all 
 sides, and it is there where he takes his meals, the 
 weather permitting, and so hospitably receives his 
 numerous friends. His life is one of austere sim- 
 plicity and unremitting devotion to his work. He is 
 utterly devoid of pretense or worldly sophistication 
 of any sort, and you will meet on even terms in his 
 atelier or strolling about the spacious grounds an 
 aristocrat of the utmost mundane elegance such as 
 
 DO 
 
(..'unite Robert tie Montesquiou-Fezensac, or a rugged 
 "I [omme-Nature," or natural man, of the type of the 
 now famous Meva, with shaggy hair and beard, 
 coarse linen robe, and bare feet encased in sandals. 
 Fond of drawing and painting as well as sculpture. 
 Prince Troubetzkoy devotes not a little of his time to 
 the former, having latch - executed in nils a delightful 
 portrait of his wife, and various crayon sketches 
 Hi distinct merit. Possessing radically independent 
 views on all topics, it is inevitable that he should care- 
 little for the customary distinctions which have fallen 
 to him in both branches of his art, for as a portrait- 
 painter, too, he has exhibited in public on numerous 
 occasions and is represented in more than one collec- 
 tion. Though wholly oblivious of such matters him- 
 self, it may not be amiss to mention, in the interests 
 ot biographical accuracy and completeness, that he 
 has been a Chevalier de la Legion d'honneur since 
 ro,oo, that he has won gold medals in Rome, Dres- 
 den, Berlin, and elsewhere, and figures in the perma- 
 nent galleries of such cities as Rome. Venice, Leipzig. 
 Berlin, Milan, Dresden, Moscow, St. Petersburg. 
 Paris, and San Francisco. He is furthermore a 
 member of the Societe \ T ationale des Beaux-Arts, the 
 Societe Xmivelle, and the Societe du Salmi d'Au- 
 tomne in Paris, the Dresden and Munich Secession 
 
Barnn Henri flc Rothschild 
 
Societies, and the International Society of Sculptors, 
 Painters, and Gravers of London. He nevertheless 
 resolutely refuses to wear any of the insignia of offi- 
 cial approbation about his person, and seldom uses 
 his own family title, preferring to remain on terms 
 of absolute equality with those with whom he finds 
 himself in contact. 
 
 It is impossible to approach the latest phase of 
 Prince rroubetzkoy's art without some knowledge of 
 those specific mental characteristics which obviously 
 enter so largely into his life and work. Impulsive 
 and Utopian by nature, he is astir with theories social 
 and fraternal. A confirmed vegetarian, he abhors 
 the idea of slaughter in any form, and was unques- 
 tionably judicious in resisting his father's desire to 
 make a soldier of him. Whole-souled and devoid of 
 equivocation, he carries his practice to the point of 
 actually denying himself milk, butter, or eggs, and 
 is more pleased at adding converts to his cherished 
 cause than eliciting admiration for his sculpture or 
 painting. His grounds for total abstinence from all 
 animal food are philosophical as well as hygienic, 
 and in this they resemble the stand taken on the same 
 question by such men as Leonardo da Vinci, Newton, 
 Llisee Reclus, and Tolstoy. His art is in a measure 
 the reflex of his views, for that which animates its 
 
 [35] 
 
every expression is a profound and tender love of life 
 in all its manifestations. Fortunately, however, he is 
 first an artist and only secondarily a theorist, and his 
 work has thus far seldom suffered from that mixture 
 of motive, or, what is equally important, that lack of 
 creative unity and inspiration without which it would 
 of necessity lose all esthetic significance. While there 
 are, despite his convincing physical appearance and 
 fervid eloquence, those who may still differ from him 
 on the question of corporeal sustenance, few will 
 combat his assertion that "only those should devote 
 themselves to art for whom production is an irresis- 
 tible necessity, a veritable emanation from the entire 
 being as it labors in pride and in joy." 
 
 Great as was his success at the Paris Exposition 
 of 1900, it was doubly confirmed by his appearance 
 at the Autumn Salon of 1904, where he had a special 
 room to himself and enjoyed the satisfaction of divid- 
 ing attention with such modern masters as Puvis de 
 Chavannes, Auguste Renoir, Cezanne, and Toulouse- 
 Lautrec. The public had meanwhile become more 
 accustomed to his individuality of style and freshness 
 of vision through important displays of his work at 
 the Galerie Hebrard in Paris, at Schulte's and at 
 the Kunstlerhaus in Berlin, at Messrs. Obach's and 
 the Xew Gallery in London, and elsewhere, and 
 
Auguste Rodin 
 
his position was by this period one of command- 
 ing distinction in the field of contemporary artistic 
 endeavor. It was in 1907, some time after lie had so 
 congenially established himself in the rue Weber, 
 that Paul Troubetzkoy made his reappearance at the 
 Paris Salon. Exhibiting with the Societe Xationale, 
 he was on this occasion represented by four subjects 
 entitled respectively "Young Woman and Dog," 
 "Girl and Dog," "Model Standing," and "Amazon." 
 He did not exhibit the following season, but in igotj 
 his portrait of la Marcpuise Casa-Fuerte and portrait 
 of Baron Henri de Rothschild were alike notable for 
 their facility of execution and vigor of observation. 
 His work this same year at Venice was particularly 
 conspicuous, consisting as it did of no less than ten 
 pieces of bronze and plaster grouped in an imposing 
 hemicycle and occupying most of the available space 
 in Sala 36, one of the numerous Sale Internazionali. 
 The vivacious bust of Miss Hnnter, the small seated 
 statuette of his Excellency M. Nelidov, the Russian 
 Ambassador at Paris, and the bronze figure of a man 
 with pointed beard, in sack-suit, standing with right 
 foot extended, were among the best of the portraits. 
 Of equal charm and interest were the bits of domestic 
 genre and the veracious figures of two dogs, one 
 asleep, the other also in a recumbent position and 
 
 [39] 
 
treated in long, expressive lines, his paws and slender. 
 sensitive nose extended directly in front of him. Ar- 
 ranged with extreme care and taste, this little display 
 constituted a sort of modest apotheosis of the sculp- 
 tor's work, and proved one oi the features of an 
 unusually comprehensive exhibition of contemporary 
 art. In order to complete the chronology of Prince 
 Troubetzkoy's production it only remains to recall 
 his appearance at the World's Columbian Exhibition 
 at Chicago in 1893, where he was represented by his 
 sketches for the Dante and Garibaldi monuments, by 
 two versions of Ins "Indian Scout," and five addi- 
 tional pieces, some of which were later purchased for 
 the Golden Gate Art Museum of San Francisco. 
 
 As may readily be inferred, the recent work of 
 haul Troubetzkoy is essentially international in char- 
 acter. Just as in Russia, and previously in Milan, 
 his Paris studio has been the meeting-place of the 
 most distinguished social, diplomatic, intellectual, and 
 artistic personalities of the day. Among sitters from 
 his paternal land have been the Princesses Gagarin, 
 Tenicheff, and Bariatinsky, the Grand Duke Andre 
 Vladimirovich and the Grand Duke Paul, Prince 
 Meschersky, Count Witte, and the famous dramatic 
 basso Cbaliapin. who has lately been the sensation of 
 the Russian opera season in Paris. Prominent among 
 
 03 
 
Signor Giulio Savarese (front) 
 
Sign or Giulio Savarese (side) 
 
his French subjects may be instanced Mine. Favier, 
 Mine. Decori, Mile. Besnard, daughter of the artist 
 Paul-Albert Besnard, Baron Henri de Rothschild, 
 M. Joseph Reinach, M. Armand Dayot, the French 
 Inspecteur-General des Beaux-Arts, Anatole France, 
 M. Gil, and the celebrated surgeon Doctor Pozzi, of 
 whom years ago Sargent executed a masterly though 
 little known full-length likeness now in the physi- 
 cian's hotel in the Avenue d'lena. Reference has 
 previously been made to the bust of the Italian-Swiss 
 painter Giovanni Segantini, which to-day occupies a 
 fitting place in the National Gallery of Berlin, and in 
 this connection it is not inappropriate to cite the 
 seated statue of another figure of prominence in the 
 field of contemporary art — Seiior Joaquin Sorolla y 
 Bastida — for whose work and personality the sculp- 
 tor professes the highest admiration. 
 
 Considering his position and reputation in Paris, 
 it would have been singular had the art of Prince 
 Troubetzkoy remained unknown to those Americans 
 who habitually frequent the French capital, and it is 
 thus a pleasure to note that among those from this 
 side of the water who have already sat to him for 
 their portraits are Mrs. Vanclerbilt and her daugh- 
 ters, Mr. W. K. Vanderbilt, and Mrs. Harry Payne 
 Whitney. In addition to these he bad previously 
 
 [43] 
 
found in his own family two American women who 
 naturally proved sympathetic subjects — his mother, 
 of whom he has executed a delicate and penetrating 
 seated likeness, and his sister-in-law, Princess Amelie 
 Troubetzkoy, nee Rives, wife of the portrait-painter, 
 who has for the last few vears made his home in 
 Xew York. 
 
 It would be difficult to overestimate the importance 
 of the current exhibition of Prince Troubetzkoy's art 
 bv the American Numismatic Society. He has brought 
 with him to the United States the largest collective 
 display of his work ever assembled. Every phase 
 of his supple, effective handling and every period 
 of his ceaseless creative activity are adequately rep- 
 resented in these vivid bits of bronze or plas- 
 ter which are here shown to such conspicuous ad- 
 vantage. The Continental reputation of the sculp- 
 tor is to-day a matter of general knowledge. The 
 final versions or duplicates of many of the busts 
 and statues here seen have already found place in 
 the leading museums and private galleries of Eu- 
 rope, and it only remains for America to appreci- 
 ate a talent which reveals obvious points of contact 
 with native taste and temperament. This art in its 
 everv manifestation is essentiallv refined, eclectic, 
 and cosmopolitan. In its modernity of theme and 
 
painter Cinvanni Segantii 
 i»95 
 
isnor Torelli-Viollier (front) 
 
treatment, its energy yet delicacy of expression, and 
 above all in that quality of nervous sensibility which 
 it possesses in such a high degree, it can scarcely fail 
 tn enlist the esthetic sympathies of our cultured pub- 
 lic. In visiting these shores Prince Troubetzkoy is 
 fulfilling a long-del erred hope. On inure than one 
 occasion lie was on the point of coming, hut has each 
 time heen prevented by the press of circumstance 
 or an imperative call in some other direction. Al- 
 though years ago he won his first public recognition 
 with a distinctively American subject — that of the 
 "Indian Scout" — it is more than likely that he will 
 this time confine his attention to a somewhat different 
 segment of our society. In any event he will lie cer- 
 tain to add an absorbing and characteristic chapter to 
 his art, for thus far, at least, he has never failed to 
 reflect his surroundings with a vivacious charm and 
 veritv which have frankly no parallel in the field of 
 C< mtemporary sculpture. 
 
 m 
 
II 
 
 CRITICAL 
 
 SUPERFICIALLY it requires no special effort 
 on the part of the casual spectator to appreciate 
 the art of Paul Troubetzkoy. Its appeal is immediate, 
 instantaneuus. In choice of theme and subject-matter 
 it is marked by a refreshing absence of pretence and 
 artificiality. It involves no feat of the imagination 
 and exacts no knowledge of classic myth or of those 
 traditions, scholastic or literary, which have so long 
 obscured the true meaning of plastic form. Devoid 
 alike of svmbol and allegory, its message is wholly 
 specific and explicit. There is nothing in the entire 
 range of this art which is not familiar to any one, no 
 matter how prescribed his experience or outlook may 
 be. It is, however, through the achievement of just 
 this naturalness and spontaneity that the work of 
 Prince Troubetzkoy differentiates itself so sharply 
 from that of the majority of his contemporaries. The 
 position which he occupies is a unique one, yet it must 
 not be assumed that it came to him without the favor- 
 
 C48] 
 
Sifjnor Turclli-Yinllier (sidW 
 
Monsieur Zadoks 
 
ing touch of circumstance as well as through his 
 inherent independence of vision and statement. Al- 
 though lu's personal taste and style matured early in 
 his career and with astonishing surety, the influences 
 which led to their perfection lay by no means on the 
 surface. 1 he initial factors in Ins artistic develop- 
 ment were of course those of birth and parentage, 
 and it is impossible not to divine in this varied and 
 expressive production certain elements, Slavonic and 
 American, which were his by right of direct inheri- 
 tance. Fundamentally realistic both in his literature 
 and in his art, and permeated at the same time by a 
 deep and tender fraternalism, an abiding love of man 
 and beast, the typical Russian displays but scant en- 
 thusiasm for mere esthetic subtleties. That which 
 above all characterizes the Slavonic temperament is 
 its close relation to the texture of quotidian existence. 
 The Russian everywhere reveals his power of direct, 
 unclouded observation, his ability t<> grasp the vital 
 aspects of a given scene or situation and to achieve in 
 their interpretation a vigorous measure of actuality. 
 His art is essentially a concrete rather than an ab- 
 stract expression. While it is true that it often 
 acquires under stress of creative feeling a beauty 
 of form and an emotional fervor which lift it far 
 above the world of mere tact, vet none the less its 
 
 [50 
 
basis is habitually found in the humblest, most unpre- 
 tentious material. 
 
 Descended from a distinguished and aristocratic 
 family, it is but natural that the racial characteristics 
 of his countrymen should have been more or less 
 sublimated in the case of Paul Troubetzkoy. His 
 vision of external reality, while not less accurate, is 
 mure flexible and refined than is customary with 
 those native spirits who do not happen to have been 
 born in precisely the same sphere or to have pos- 
 sessed corresponding advantages. His outlook has, 
 furthermore, been to a large extent Europeanized by 
 almost constant residence abroad, his art thus acquir- 
 ing a grace and polish and a scrupulous regard for 
 form which mav be favorably compared with certain 
 kindred qualities which Ivan Turgenev displayed in 
 the field of prose fiction. Yet despite such traces of 
 foreign influence there has remained in the endow- 
 ment of Paul Troubetzkoy much that is unques- 
 tionably Russian. In many of his studies, particu- 
 larly of animals, the note may readily be discerned 
 of the ancient patriarch rich in cattle. There is in 
 this phase of his production a broad passivity of feel- 
 ing and an innate understanding of the material at 
 hand which could only have been the legacy of long 
 familiarity with flocks, herds, and domestic pets of 
 
 Oil 
 
■■&&•, it 
 
 ">: 
 
 : ' i 
 
 
 Sketch of Sir William Ede 
 
Sir 'William Eden 
 
every kind. You instinctively realize that the creator 
 of these picturesque and veracious single figures or 
 groups must have descended, as indeed is the case, 
 from successive generations of landed proprietors 
 who loved the soil and were on intimate terms with 
 those numerous creatures of steppe and forest which 
 are so constantly in the thoughts of the average Mus- 
 covite. It is in these and similar points, minute if 
 you will, hut nevertheless important, that Paul Trou- 
 hetzkov shows himself the true son of a Russian 
 father. And finally, it must always he recalled, is the 
 paternal influence manifest in the faculty of giving 
 special significance to the aspects of every-day life. 
 Though there is in this art no apparent symbolism, 
 yet, as the young sculptor early learned to prove, 
 there lurks in the simplest of details, when treated 
 with sufficient depth, directness, and penetration, a 
 spontaneous symbolism which is far more potent, lie- 
 cause less obvious, than that to which we have else- 
 where been accustomed. 
 
 It should hardly be necessarv to refer to those 
 qualities which Paul Troubetzkoy undeniably owes 
 to his mother, who, though not artistic in a practical 
 wav, was notably fond of music, and was in addition 
 a woman of exceptional general culture. She it was 
 who clearlv helped him to overcome that tendency 
 
 Cssa 
 
toward fatalism and that intellectual and physical 
 inertia which are among the curses of a phenomenally 
 gifted race. One of the distinctive features of the 
 art herewith under consideration is its nervous force 
 and vitality, and it is more than probable that this 
 element owes its existence to the maternal side of the 
 sculptor's family. While there are various old-world 
 l actors in the work ol Prince Troubetzkoy, its spirit 
 is new and fresh, ami its outlook full of novelty. It 
 would perhaps he too much to assert that it possesses 
 certain specific marks of Americanism, for thus far 
 American sculpture has produced nothing so alert and 
 untrammclcd : still in many ways it reveals a happy 
 disregard tor formula and a joyous independence 
 which savor oi a country devoid of sterile and para- 
 lyzing precedent. Slavonic on the one hand and 
 American on the other, Prince Troubetzkoy was 
 nevertheless born in Italy, and it is toward ftaly that 
 one must turn in order to discover those early influ- 
 ences which no artist, how ewer autogenous his dispo- 
 sition, can possihlv escape. 
 
 While it is true that his professional training was 
 of the slenderest sort, it is impossible not to realize 
 that the young sculptor owed not a little to the cir- 
 cumstances which surrounded his initial struggles 
 toward self-expression. The dominant figure in 
 
 [56] 
 
*■ 
 
 ( i Bernard Shaw (side) 
 r 908 
 
Mr. William K. Vanderbilt 
 
Lombard art during the period of Paul Troubetzkoy's 
 apprenticeship was not that of a sculptor, but that of 
 a painter, Tranquillo Cremona, who was born in 
 Pavia, but who hail later moved to Milan, where his 
 sway over the more progressive members of the Lom- 
 bard school was both decisive and propitious. Cre- 
 mona in his earlier days had given himself over to a 
 species of eloquent romanticism, not without merit, 
 hut which cannot be compared with that restless 
 impressionism which, under the inspiration of Fon- 
 tanesi, he subsequently perfected after his own vigor- 
 i tus manner. 1 le was the enemy < if detail, and 1< lathed 
 everything that was definite and precise. It was the 
 inner content of things, not their outer shell, which 
 he aimed to seize, and he carried his work only far 
 enough to convey the desired meaning, deliberately 
 neglecting that finish so dear to industrious and mi- 
 croscopic minds. Against a vague, shadowy back- 
 ground he would silhouette an appealing face or out- 
 stretched arm, and would not hesitate to leave the 
 balance of his composition in amorphous nothingness. 
 So untrammeled was his handling, and so liberal his 
 employment of pigment, that he may be said to have 
 actually modeled in paint, in which he resembles the 
 incomparable Antonio Mancini, whose art closely 
 encroaches upon the confines of bas-relief. 
 
 t5<a 
 
Displaying so highly developed a plastic sense, it 
 was natural that the canvases of Cremona should 
 have enlisted the interest of sculptors as well as 
 painters, prominent among the former of whom 
 being Ernesto Bazzaro, who for a brief interval was 
 Paul Troubetzkoy's preceptor. Brother of the well- 
 known landscape-painter Leonardo Bazzaro, Ernesto 
 owed not a little of his flexibility of treatment and 
 scorn of useless elaboration to the example of Cre- 
 mona. His work, notably in the bust of Garibaldi 
 exhibited in Milan in 1886 — the year of his former 
 pupil's debut— showed a strength, an impetuosity, 
 and a haughty disregard for finish which could 
 scarcely have tailed to impress the younger man. 
 Italian art of that period was divided into two sharply 
 defined groups, the one, headed by Domenico Trenta- 
 coste, seeking to conserve the rounded symmetry 
 which had descended from classic times; the other, 
 which claimed the sturdy touch of Cifariello and the 
 tender, elewated spirituality of Leonardo Bistolfi, 
 striving to establish the principle oi plastic freedom. 
 It was to the mighty though almost vaporous figure 
 of "Day" on the Medici monument in the Church of 
 S. Lorenzo at Florence that these latter men turned for 
 their chief si >urce < > 1 inspiration, and it is safe to say that 
 modern sculpture largely owes its emancipation from 
 
Mrs. William K. Vanderbilt 
 
Elder daughter of Mrs. William K. Vanderbilt 
 
the slavery of fixed outline to this single unfinished 
 fragment. Not only have the contemporary Italians, 
 but the master emotionalist in marble of France, 
 Auguste Rodin, literally sat at the feet of this colossal 
 sketch, and it would he useless to deny that its influ- 
 enee, either direct or indirect, has been considera- 
 ble upon the artistic personality of Paul Troubetzkoy 
 as well. 
 
 Without a vestige of classic heritage, and entirely 
 removed from that pretentions pseudo-classicism 
 which had been imported into Russia under the 
 regime of Peter and Catharine, it was inevitable that 
 Raul Troubetzkoy should have taken kindly to those 
 forces which were molding the style of the younger 
 Milanese sculptors with whom he came in contact. 
 Granting that his formal training was practically nil, 
 lie was nevertheless living and working in an atmos- 
 phere charged with graphic liberty and independence. 
 His abbreviated apprenticeship brought him into 
 direct relation with a master of the boscetto, Bazzaro, 
 and, while he did not relish routine instruction, he 
 could hardly have failed to profit by the example of 
 bis talented professor. It was however the fortu- 
 nate concurrence of various circumstances which en- 
 dowed the young man with those qualities which 
 were soon to render his work so distinctive, and not 
 
 [63] 
 
the least of these were the wholesome influences 
 which had surrounded his childhood and youth, and 
 which have already been mentioned at sufficient 
 length. Paul Troubetzkoy approached his given task 
 with unclouded mind, and tins very freedom from 
 restraint, from the irksome constriction of the past 
 and the confused ideals of the present, is the domi- 
 nant aim of his production. Almost alone among his 
 colleagues he has been able to survey nature with 
 unprejudiced eye, to see in the world about him plas- 
 tic possibilities which have escaped or have been 
 ignored alike bv his predecessors and his contempo- 
 raries. The text of this art is life, and its gospel truth 
 to life as he sees it. "I merely copy what I find in 
 nature," is his candid reply to those who are moved 
 to ask tor some explanation of his work. Yet fortu- 
 nately that which Prince Troubetzkoy is pleased to 
 call copying is in essence a recreation of what he sees. 
 The objects which, under the impress of his power- 
 ful and nervous finger-tips, shape themselves so spon- 
 taneously out of wax or clay are by no means what 
 another man would term a copy oi the model before 
 him. They are instinct with the very breath and 
 movement of nature, and convey to us an incompara- 
 ble sense of vitality. The desire to depict life is the 
 key-note of Prince Troubetzkoy's art. There lurks 
 
 OH 
 
Younger daughter of Mrs. William K. Vanderbilt (bust) 
 
i'uunger daughter of Mrs. Wi 
 
 K. Vanderbilt I full length) 
 
within him a resistless impulse to transcribe that 
 which he finds appealing, but in the process of tran- 
 scription he goes beyond mere outward semblance 
 and expresses those deeper truths which alone can 
 give actuality its broad and enduring significance. 
 
 While it is manifest that the true distinctions in 
 art are those of manner and method rather than sub- 
 ject, nevertheless each subject requires individual 
 presentation, and hence there are in the work of Paul 
 Troubetzkoy certain clearly marked divisions. His 
 initial successes were achieved in the domain of ani- 
 mal sculpture, his next in the province of domestic 
 genre, which was in turn followed by his equestrian 
 statues, and lastly he has carried the plastic portrait, 
 either bust or full-length, to a conspicuous degree of 
 perfection. There has scarcely been a period through- 
 out his career during which he has not been occupied 
 simultaneously with each of these several themes, but 
 the progress of his art observes in the main the fore- 
 going lines of development. Both by temperament 
 and equipment he was peculiarly fitted to seize the 
 characteristic features of animal life and form, and 
 it is hence small wonder that his attainments in this 
 direction attracted immediate notice. Naturalist bv 
 instinct and realist bv training, he early gave to 
 horse or hound, to bear, camel, or elephant, a verity 
 
oi spirit which has no parallel in the work of any 
 aiiimalicr of the daw The lionesses of Barye, dra- 
 matic, ferocious, and magnificently studied though 
 they be, are not without touches of romanticism 
 which suggest Delacroix, and an anatomical perfec- 
 tion that recalls the persistence of academic ideals. 
 In the presence of Paul Troubetzkoy's wolf or Si- 
 berian sledge-dog, his grazing cow, or mare and cult. 
 you do not think of art, but of life. It is here not a 
 question of how animals appear to the public, but 
 how the}' look and act to themselves and toward one 
 another. He docs not strive for that startling veri- 
 similitude which is the unique achievement of his 
 friend, and former studio associate, Rembrandt Bu- 
 gatti. It is rather a synthesis of animal nature that 
 the art of Paul Troubetzkoy offers us. 
 
 The first work along these lines, effective as it was, 
 lias been far excelled by certain more recent sketches, 
 notably those entitled "Pet Wolf" and "Young 
 Wolf," while among the compositions involving more 
 than one figure the "Mare and Foal," modeled from 
 originals in the stables of the Princess Tenicheff, is 
 a masterpiece of equine maternalism. If more proof 
 were needed to demonstrate the artist's superiority in 
 this province it would only be necessary to mention 
 his "Samoyed, Reindeer, and Dogs," in which that 
 
Mrs. Lydig 
 
Mrs. Harry Payne Whitney 
 
community of feeling existing- between man and ani- 
 mals when thrown together on terms of lifelong in- 
 timacy finds its most fitting expression. Groups such 
 as this do not suggest a mere seeking alter novelty 
 or remoteness of theme; they carry their own accent 
 of conviction. Something of that Arctic cold which 
 every Russian knows, and which [vorolenko has so 
 wonder full_\- pictured in his Siberian stories, seems to 
 have settled over this little hand, making them all 
 akin. They are confronted by the same harsh condi- 
 tions. \\ Hi 1 e the vast snow-clad and ice-bound reaches 
 of the North are subtly indicated, there is not the 
 slightest attempt to arouse vague feelings of pity in 
 the breast of the spectator, for these simple creatures 
 seem actually to relish the surroundings in which they 
 are so truthfully depicted. 
 
 Treated with equal ease are countless little duo- 
 logues between women and children and their favor- 
 ite canines, who now stand looking wistfully into 
 their companions' faces or are seated watch lull) 7 by 
 their side. Apart from the brilliant and dexterous 
 modeling of these hirsute bodies, and the infinite va- 
 riety of attitude and arrangement, they possess that 
 rare merit of preserving intact the special individu- 
 ality of animal life and character. Though thrown 
 constantly in the society of man, these dogs are per- 
 
 C70 
 
milled to remain dogs. They are not humanized be- 
 yond recognition, and for that reason their relation 
 to master or mistress is never lacking in piquancy 
 and interest. The mood is sometimes a frankly affec- 
 tionate one, as in the group known as "Friends," 
 showing the little girl seated with her right arm rest- 
 ing easily over the dog's back. Again it is full of dis- 
 cerning apposition, as in the young woman and dog 
 facing each other and seen at their best in direct pro- 
 file. You never feel on viewing this work, which is 
 everywhere so truthful and spirited, that PrinceTrou- 
 betzkoy is manufacturing his predilection for such 
 material. Innate love and knowledge are behind 
 everything he does. He has taken from the world of 
 fact only those things which appeal to him with posi- 
 tive impetus, and one cannot fail to discover in his 
 least touch the stamp of veritable creative enthusiasm. 
 Similar in conception, though on a more intimate 
 and at the same time more exalted plane, are those 
 glimpses of domestic scene which form such an in- 
 tegral part of his production. Among his earliest 
 efforts in this direction Avere several stttdies of ma- 
 ternity, showing mothers and children in various 
 natural and expressive poses, each indicative of some 
 special phase of the same appealing relationship. At 
 times, as in "Mother and Child." which shows the 
 
The Princess Gagarin with her daughter 
 
-ketch of Mile. Fiirstenberg 
 
standing figure of a member of his own family — the 
 Princess Gagarin— holding aloft a healthy-looking 
 bambina, the note is one of discreet pride, while in 
 ''Maternal Tenderness" we have, in the seated mother 
 with her left arm clasped about the little girl and her 
 lips resting against her soft hair, one of the deepest 
 and most moving versions of this perennial theme. 
 No line save perhaps Eugene Carriere has expressed 
 the essence of mother love with such penetrant ten- 
 derness, and those to whom definitions are necessary 
 may well call Paul Troubetzkoy the sculptor of ma- 
 ternity just as Carriere has been so appropriately 
 christened the painter of maternity. Balancing the 
 domestic picture, and complementary to it, are those 
 groups wherein the father is seen usually in the com- 
 pany of his infant or half-grown daughter. No- 
 where has this phase of family affection been better 
 depicted than in the double bust portrait originally 
 exhibited under the title "Tenerezza Paterna," which 
 discloses a youngish man with left arm about his little 
 girl's shoulder, their heads nestled close together in 
 perfect unanimity of mood and feeling. It would 
 have been easy in treating such episodes to have erred 
 on the side of sentimentality, and countless artists 
 have succumbed to this temptation. There is, how- 
 ever, in the work- of Prince Troubetzkoy an instinc- 
 
 [751] 
 
live reserve which saves him from such almost in- 
 evitable pitfalls. 
 
 Before leaving the field of genre, which has proved 
 such a congenial one to Paul Troubetzkoy, mention 
 must be made of two or three subjects which to a 
 certain extent stand apart from the main both- of his 
 work. In the charming "Flight of Time" he has per- 
 mitted himself to indulge in his only bit of allegory, 
 and, as usual, his inborn tact has prevented him from 
 perpetrating anything in the least over-emphatic. It 
 was a delicate fancy which led him to point the hands 
 of the dial into whose face the young woman is some- 
 what ruefully gazing to quarter of eleven, and in 
 other respects, too, the little group reveals his cus- 
 tomary artistic intuition. Of a distinctly more 
 sprightly nature is the "Fiacre in the Snow," which 
 shows a typical Milanese cabby overtaken by a storm, 
 his horse's head lowered in mute discomfort and his 
 vehicle crusted with new-fallen snow-. Technically 
 the simple incident is a joy to those who relish close 
 observation and clever, realistic handling. It is 
 Raffaelli-like in its illustrative quality and indeed 
 aptly recalls the art of the facile painter-etcher of the 
 Fan's boulevards and baiilicuc. Equally character- 
 istic, though of Russian, not European, street life, is 
 the "Sledge in the Snow," which serves as a com- 
 
Daughter of th 
 
 Prince Scipi 
 1908 
 
 me Borghese 
 
panion piece to the preceding and was done tour years 
 later in Moscow. The humble izvostchik, tightly 
 muffled in his greatcoat and cap, his lingers thrust 
 into his capacious sleeves, as well as horse and low- 
 built sledge, are delightful in their crisp suggestion 
 of detail. You do not, in studying any of this work, 
 experience the slightest suspicion of fatigue. The 
 execution is everywhere broad and synthetic. The 
 artist early learned to avoid over-statement, and that 
 is precisely why his touch remains, throughout, so 
 refreshing and replete with spontaneous truth. 
 
 Previous to undertaking the equestrian statue on 
 a heroic scale Paul Troubetzkoy first mastered what 
 may be described as the equestrian portrait, among 
 the earliest of which may be signaled those of an 
 ''Italian Cavalryman" and of Signor Madiliani, 
 and among the most successful those of Tolstoy. It 
 is impossible not to accord the "Tolstoy on Horse- 
 back" one of the very foremost positions in the hier- 
 archy of Prince Troubetzkov's art. While lacking the 
 dramatic alertness which characterizes the "Indian 
 Scout," which also belongs in this category, it is un- 
 approached in its significant verity of form and dee]) 
 humanity of feeling. Both horse and rider are won- 
 derfully convincing. Plastic realism and the interpre- 
 tation of personality, both human and equine, can in 
 
 on 
 
fact scarcely go further. Lacking perhaps in the 
 same close and comprehensive analysis, but more pic- 
 torially effective, is the "Bedouin Horseman" on his 
 spirited Aral) charger, every line of which suggests 
 suppleness and speed. Nor is the sculptor's taste 
 wholly confined to man, either militant, modern, 
 primitive, or grandly philosophic, for nothing could 
 offer a more appropriate note of contrast to the pre- 
 ceding than the equestrian portrait of his own wife 
 in Russian cap or the lithe figure of the young daugh- 
 ter of Princess Borghese, seated bareback astride her 
 favorite pony, an epitome of girlish health and whole- 
 some frankness in dress and manner. 
 
 It is only a step, though an important one estheti- 
 cally speaking, from equestrian portraiture to the 
 sterner demands of the equestrian statue, and for this 
 work, too, Prince Troubetzkoy has more than once 
 proved his fitness. During the early Milanese days it 
 was naturally his ambition to secure orders for some 
 of the public monuments then being erected through- 
 out Italy. To this end he executed numerous sketches 
 of striking merit and originality, most of which were 
 unfortunately unsuccessful in gaining for him the 
 coveted commissions. Finely conceived as were the 
 models for the statues of Prince Amedeo of Savoy 
 and General Fanti, as well as the more recent and 
 
.Mav(|iu>a Ca-a l-'m-vte 
 
riir_- Princess Baratinsky 
 Mine. Lydie Yaworska 
 
better known design for the Alexander II monument, 
 the artist was obliged in these instances to accept his 
 portion of public neglect and malcomprehension. 
 The "General Cadorna" at Pallanza is a welcome ex- 
 ception to this rule, and he has in addition the satis- 
 faction of know ing that the massive, rugged sincerity 
 of his "Alexander III" will forever rebuke the 
 inflated eloquence of Falconet's near-by "Peter," as 
 well as close the mouths of those who consider him 
 merely as a master of Kleinplastik. It may take 
 phlegmatic opinion some years to appreciate this same 
 "Alexander," but it is not impossible that it may 
 ultimately find place in that glorious procession 
 which will ever he headed by the "Gattamelata" of 
 Donatello and the "Colleoni" of Verrocchio. While 
 considering his plans for other public monuments 
 there is one which, though not an equestrian, must 
 never be ignored, and that is the lofty pedestal 
 crowned by the cloaked figure of Dante, originally 
 designed for the citv of Trent. Though so seemingly 
 resistless in its imaginative fervor and philosophic 
 depth, it likewise met with an unsympathetic recep- 
 tion and was not successful in obtaining for its au- 
 thor the much-desired commission. 
 
 Despite the diversity of his production and his 
 unquestioned ability in so man}- different directions, 
 
it is in tlie province of plastic portraiture that Prince 
 ["roubetzkoy has attained chief recognition. Long 
 before the bust of Segantini, which hears the date of 
 1895, he had devoted his energies to this branch of 
 activity, and not a year has passed during which he 
 has not executed numerous works oi this character, 
 ddie note of romantic abstraction so appropriate to 
 the Italian-Swiss painter's life and personalitv has 
 gradually been replaced by a crisp and discerning 
 niodernitv of perception which shirks no element of 
 actuality and shows its disregard for precedent by 
 boldly attacking the most puzzling problems of con- 
 temporary costume. While individual preference 
 m;iv he on the side of his animal sculpture, or his 
 equestrian statues, there can be no question that the 
 decisive originality of his contribution to current 
 art lies in the hits of wax, bronze, or plaster, now 
 small and Tanagra-like, now life-size, with which 
 his name is to-day so widely associated. The esthetic 
 creed of Paul Troubetzkoy consists of two brief, con- 
 cise, and interdependent statements: "I'as de mi, pas 
 de symbole," ami his production is remarkable alike 
 for its avoidance of the nude and of that vacuous 
 symbolism so necessary to those who are too cow- 
 ardly or too incompetent to face the facts of every- 
 day existence and extract whatever measure of beauty 
 
Danseuse (Mile. Svirsky) 
 
may reside therein. There are no feeble compromises 
 in this art. Tt lias completely freed itself from the 
 tyranny of classic form and arrayed itself frankly on 
 the side of contemporary life. These men wear the 
 customary garb of to-day, and these slender, patri- 
 cian women do not disdain the most modish of mod- 
 ern toilettes. And yet this is by no means equivalent 
 to saying that the artist lays special stress on the 
 question of clothes as such, lie is a sculptor, not 
 a tailor or habit-maker. There is in this work no 
 more regard for mere minutiae than when he so 
 cleverly and rapidly indicates the shaggy coat of his 
 favorite Siberian wolf or his beloved "Rosa." 
 
 The essence of the matter is that Paul Troubetzkoy 
 is not a slave of the past. lie glories in specific ob- 
 servation, and such is his fundamental integrity of 
 purpose that he would not condescend to model any- 
 thing that was not directly before his eyes. Since he 
 does not see man in the guise of a Greco-Roman hero, 
 or woman desporting herself as a sylvan goddess, he 
 flatly declines to picture them so. Banal abstractions 
 rejoicing in appellations of "Vanity," "Surprise." 
 "Benevolence," and the like he holds in righteous 
 horror, and looks with a mixture of pity and indig- 
 nation upon those who continue to perpetrate such 
 manifest artistic anachronisms. 
 
 [87] 
 
Possessing views so sane and so courageous, it was 
 not long before Prince Troubetzkoy outgrew even 
 the modified conventionality of the abbreviated bust 
 likeness, and began doing full-length figures almost 
 exclusively. The vigorous, brusquely conceived head 
 oi Signor F. Cameroni, with glasses perched athwart 
 his nose, gave place to numerous masculine portraits 
 seen in their entirety, now seated as are those of 
 Prince Galitzin, Serge W'itte, Sehor Sorolla, and 
 M. (ill, now standing, as in the cases of Signor 
 Giulio Savarese, Auguste Rodin, Anatole France, 
 .Mr. \Y. K. Vanderbilt, Paul Helleu and Sir William 
 Eden. Circumstances often require the execution of 
 a bust only, hut it is clear that the artist prefers a 
 more comprehensive version of his subject, no matter 
 what the sex or age may he. In these and similar 
 works the individualization <>f each model is achieved 
 to a degree that is little short of phenomenal. You 
 may not know, hut you instinctively feel, that the 
 bulkv Prince Galitzin must he a typical Russian 
 landed proprietor; you grasp at once the air of 
 worldly indifference in the attitude of Signor Sava- 
 rese, whose hands are thrust negligently into his 
 trousers pockets; and almost any one could perceive 
 the tremendous creative energy expressed in the 
 sturdv, titanic frame of Rodin, or that gentle flavor 
 
 [38] 
 
Mine. Goujon 
 
Mine, Hoerneimer (first view) 
 
of intellectual skepticism which is so characteristic of 
 Anatole France. Eloquent as are these portraits in 
 the round, they betray no suspicion of the tricky or 
 
 factitious. The execution is adroit and often sum- 
 mar)', yet behind this ready facility lurks the keenest 
 observation and the most scrupulous regard for exis- 
 tent form as it appears to the eye. Prince Trou- 
 betzkoy is not so much occupied in making so-called 
 statues as he is in translating the life about him into 
 a plastic language which will not belie, hut embody, 
 that reality which is the watchword of his least as of 
 his most ambitious effort. 
 
 The individual characterization so soundly attained 
 in his studies of men is paralleled by an equal though 
 more subtle sense of particularization when he turns 
 to his women subjects. From the early seated like- 
 ness of Mme. Hoerneimer to the recent standing' 
 figure of the Princess Bariatinsky (Mme. Lydie 
 Yaworska); from the hesitant grace of "Uscendo 
 dal Ballo," to the aerial abandon of Mile. Svirsky 
 poised upon the tip of her toe, this phase of Paul 
 Troubetzkoy's art is constant, though ever varied in 
 appeal. The faint, indefinable perfume of femininity 
 pervades each of these precious bits of bronze or plas- 
 ter which collectively constitute the (lower of the 
 sculptor's achievement. No technical problem has 
 
 C90 
 
been too difficult for him to attack and to solve with 
 his accustomed skill. The sheen of silk, the soft 
 flutter of an ostrich plume, the rhythmic undulation 
 of the coiffure, or the rose-petal radiance of a delicate 
 complexion, — each seems to have presented but scant 
 difficult} - . Hie suggestion of color as well as of tex- 
 ture is remarkable in all Prince Troubetzkoy's work, 
 hut notably so in his portraits of young girls and 
 women, who indeed in these drab daws are the only 
 section of our society to indulge in any sort of chro- 
 matic license. As in the case of his men, the artist 
 prefers to portray his female subjects full length, 
 after the manner oi the likenesses of Mrs. Vander- 
 bilt and her daughters, and by this means secures 
 an added diversity of pose and attitude. Nothing 
 could he less conventional, for example, than the 
 recent portrait of his own wife in hat ami street 
 dress, which represents in many ways the most char- 
 acteristically modern phase of his art yet attempted. 
 The intellectual comprehension revealed in his like- 
 nesses of the painters, thinkers, and writers of his 
 acquaintance is in no way second to his understand- 
 ing of these more volatile temperaments whom he 
 has pictured in all their instantaneousness of mood 
 and manner. In tenderly traced profile, slender, 
 fluted throat, or deft turn of wrist he proves him- 
 
 on 
 
Mme, Hoerneimer (second view) 
 
The Princess Paul Troubetzkoy 
 
 (( lil portrait I 
 
self an incomparable evocator of feminine grace 
 and form. Pensive, animated, full of alluring artifice 
 or infantile simplicity, they are alike the last word of 
 our latter-day civilization and the culminating point 
 of haul Troubetzkoy's esthetic accomplishment. It 
 is, indeed, not to sculpture at all, hut to the kindred 
 realm of painting and the graphic arts — to Watteau 
 in the eighteenth century and to 1 lelleu in the twen- 
 tieth — that one must look for a similar delicacy of 
 intuition and persuasive charm of presentation. 
 
 It can scarcely he imagined that qualities so un- 
 common in the plastic art of our own or id* any age 
 could have been attained without a correspondingly 
 responsive equipment, and hence no consideration of 
 the work of Prince Troubetzkoy would he complete 
 without proper emphasis upon the purely technical 
 side of his talent. Sculpture, according to him, is a 
 living medium, and his art simply the result of his 
 emotions when face to face with nature. As we have 
 already seen, his position is highly personal, and in 
 no sense a reflection of the opinion and practice of 
 those who have gone before. "Close the studio doors 
 to literature, to tradition, to everything that is not 
 form, expression, and color," is his own significant 
 dictum, and it is apparent that he, at least, is true to 
 this salutary credo. He is an artistic instinct, not an 
 
 [95 3 
 
artistic intellect, and this is mainly the reason why he 
 is able to preserve unspoiled the priceless unity of his 
 first vision of a given object. J lis work dues not 
 reveal analysis; it reveals synthesis. lie sees life 
 vividly, and he sees it whole. "That which I strive to 
 do," he says, with contagious enthusiasm, "is to con- 
 vey as effectively as possible the impressions I receive 
 from nature, without troubling myself about the 
 artistic productions of either past or present, which 
 could never give me the same intensity of feeling I 
 obtain from direct observation, for it is in nature that 
 I find the entire beauty and grandeur of existence. 
 \\ hen I study and reproduce a living thing, it is not 
 the thing itself I wish to represent, but lite — that life 
 which vivifies and animates all things alike." Such 
 are the views of Paul Troubetzkoy, and they are 
 obviously those of a sane, sturdy soul, a man who is 
 neither overawed by the paralyzing weight of au- 
 thority nor perturbed by the activities of those about 
 him. His attitude is that of a primal being who 
 steers his course clear and straight amid the complexi- 
 ties of modern days and the confused heritage of the 
 ages. 
 
 While it is one thing to possess a programme, it is 
 quite another to carry it nut, yet with a temperament 
 such as Paul Troubetzkoy boasts the two inevitably 
 
2$fflM 
 
 Sketch of I'rincc-Si. 1'aul Troubetzkoy 
 
Princess Pan] Troubetzkuy 
 
go hand in hand. First and last he is a believer in 
 the universality of sculptural language. He restricts 
 neither its choice oi theme nor its manner of treat- 
 ment to any of the conventionally imposed limitations 
 so dear to didactic minds. Having freed his medium 
 from the empty anonymity of the past, he has no 
 intention of permitting it to evade the obligations of 
 the present. Sculpture according to him should ex- 
 press not only form, hut light and air as well. It is 
 not sufficient, he holds, to portray the object itsell ; we 
 must also give some hint of those conditions which 
 surround and subtly modify it. As will doubtless he 
 inferred. Prince Troubetzkoy is a confirmed impres- 
 sionist in theory as well as in practice, and it has been 
 his artistic mission to transfer to his own medium 
 certain of those hard-won qualities which are to-day 
 among the cherished triumphs of the contemporary 
 palette. He was always, indeed, an impressionist, an 
 unconscious one perhaps, hut nevertheless in his in- 
 stinctive fashion a pioneer in the field. His hatred 
 of broad, unrelieved surface was marked from the 
 outset. He wished to give his work the aspect of 
 reality, and thus restlessly broke up the planes wher- 
 ever and whenever he could. That he was right there 
 can be no question, for it is not by a minute system 
 of measurements nor a closeness of finish which may 
 
 [99: 
 
only be appreciated near at hand that sculpture can 
 hope to convey a convincing sense of actuality, but 
 through a proper regard for the intervening distance 
 — which is equivalent to saying the atmosphere— 
 which separates a given object from the observer. 
 As the distance, the angle of observation, and the 
 atmospheric density vary, so will the aspect of the 
 object vary, and thus, geometrically exact though it 
 may be, it will nevertheless often seem false to the 
 average eye. It is hence manifestly not with real but 
 with apparent form as well as color that art is con- 
 cerned, a point upon which it is impossible to lay too 
 much stress. These are some of the fundamental 
 truths that the young sculptor was quick to grasp, 
 and it was upon this sound basis that his subsequent 
 efforts toward self-expression were founded. 
 
 Neglecting none of the essentials of anatomical 
 structure, yet giving to the exterior portions of his 
 work a hitherto unknown variety of surface through 
 the fleeting play of light and shade, it was not long 
 before Paul Troubetzkoy had evolved a style of his 
 own. He was naturally not alone in his efforts, for 
 artistic, like other movements, are synchronous, ho 
 one else, however, was so quick to seize upon the pos- 
 sibilities offered by this new and free manner of treat- 
 ment, or to carry them to their ultimate conclusion. 
 
Princess Paul Troubetzkoy (first view) 
 
A painter as well as a sculptor, he was able to profit 
 by his training in both arts at one and the same time, 
 and produce effects heretofore unattempted. You 
 cannot grasp the full significance of his method until 
 you stop to appreciate how by an infinitude of supple, 
 accurate touches he is able to create, for instance, the 
 illusion of cold in the "Samoyed, Reindeer, and 
 Dogs," or the fragrance of feminine seduction in his 
 frankly modern divinities of society or the stage. 
 This work never seems hard or tight. It is not statu- 
 ary seen as it were in a vacuum, or frozen into inflex- 
 ible molds; it is form bathed and softened by that 
 fluid ambience which permeates all tilings. 
 
 Just as it has been in no small degree his mission 
 to break' that monotony of contour, shape, and sur- 
 face which has so heavily oppressed plastic produc- 
 tion — to break it, it must clearly be understood, by 
 surrounding his groups with light and air — so it has 
 been his pleasure to relieve that uniformity of tone 
 which has been a similar curse by adding the magic 
 gift of color. Color as it is understood in sculpture 
 is not, as the phlegmatic are apt to assume, a mere 
 esthetic fantasy. Actual color, of course, does not 
 exist, unless applied externally as with the ancients, 
 or contained in the material itself; lint color sugges- 
 tion may be, and in the case oi Paul Troubetzkoy has 
 
 C I0 3] 
 
been, carried to a high degree of effectiveness. It is 
 a mere step from impressionism to coloration; pos- 
 sibly even they are coexistent. In any event, they 
 both depend largely upon the visual intensity of the 
 impression received, and in sculpture are both ex- 
 pressed by the same method, namely, the sensitive 
 manipulation of light and shadow. The problem is 
 simply how to translate a polychrome object into an 
 image which will still retain some indication of the 
 colors of the original. The main tones are transposed 
 into what are commonly known in plastic terminology 
 as values, that is to say, surfaces which by resource- 
 ful gradation are variously and unequally lighted. 
 It is, of course, impossible merely through the differ- 
 ing quality of these values to get anything like abso- 
 lute equivalents for a given scale of colors. All that 
 is in fact attempted is an approximation, an en- 
 deavor by such means to escape that monochromatic 
 monotony which has so long distinguished sculpture 
 in general. There can lie little question in the minds 
 of the unprejudiced that Paul Troubetzkoy, among 
 others, has in a measure achieved this aim. Possess- 
 ing a remarkable eye and a ready, responsive hand, 
 he consciously or unconsciously succeeds in covering 
 his tiniest statuette or his most imposing figure with 
 a delicate, evasive tonality which more or less corre- 
 u>4] 
 
Princess Paul Troubctzkoy (second view) 
 
Princess Paul Troubetzkoy in street attire 
 
sponds to the lines of nature. Technically it consti- 
 tutes the climax oi his development, and it is not too 
 much to say that no future sculptor can hope to 
 realize the fullness of his powers without taking into 
 consideration the possibilities of color suggestion. 
 
 Important as questions of luminosity and pigmen- 
 tation undeniably are to those who regard sculpture 
 with something more than casual interest, there re- 
 mains one point in the art of Paul Troubetzkoy which 
 has always proved a stumbling-block to the larger 
 public, and upon which it may not be amiss to add a 
 few lines. It is, of course, to the matter of relatiye 
 sketchiness or lack of finish that reference is made, 
 and experience has proved that nothing is more 
 highly cherished by the average spectator than a pain- 
 ful smugness and precision which are the absolute 
 negation of life and verity, either real or apparent. 
 Paul Troubetzkoy, as we have more than once ob- 
 served, treats his material with a spirited liberty 
 which is the direct antithesis of everything that is 
 scholastic or pedantic. He does not scruple to neglect 
 the incidental in order to concentrate all the finesse 
 at his command upon the essential only, lie is far 
 too resourceful to weary us with inconsequential de- 
 tail. If there is in his art a proportionately larger 
 area of indefinite treatment than is the case with most 
 
modern sculpture, the reasons arc obvious. It is not 
 myopic exactitude, but the invigorating simulation of 
 life and motion, that he is alter. I te deems it better 
 In leave his work pulsating with vitality than to 
 smother it, as so many do, with meticulous elabora- 
 tion. That he has been successful in attaining this 
 effect there can be no question. These little figures 
 do not seem isolated objects held up for cold inspec- 
 tion, but veritable fragments oi that creative energy 
 which seeks its expression in all forms and all chan- 
 nels, and which has found in him a stalwart and con- 
 vincing champion. Though so full of vital intensity, 
 this art is by no means lacking in that sheer technical 
 mastery which never fails to delight the professional 
 craftsman. It is clever, at times almost perilously so. 
 It reveals a fluent dexterity which recalls the Span- 
 ish painter Sorolla or the Italian Boldini. There was 
 indeed a period when, had the young sculptor pos- 
 sessed less sincerity of observation and stability of 
 purpose, he might have become more facile than 
 veracious, hut he lias happily keen preserved from 
 such an ignominious fate. 
 
 Absorbing as are the technical aspects of this art, 
 it is to its broader and more general application that 
 chief interest attaches. In its courageous modernity 
 of choice, its spontaneity of utterance, and its succes- 
 
Portrait bust of young woman 
 
sive conquest oi the elusive factors of air and color, 
 it assuredly ranks as one of the most important 
 esthetic manifestations of recent times. Though 
 suggesting numerous analogies in the kindred prov- 
 ince of painting, it specifically recalls the contribution 
 of Edouard Manet, for just as Manet was the fore- 
 most pictorial impressionist of his day, so is Paul 
 Troubetzkoy the leading exponent of plastic impres- 
 sionism. There are of course no resemblances what- 
 ever between the methods of the two men, as Manet 
 painted in flat tones and was the avowed enemy of 
 everything that savored of actual modeling. The 
 parallel is entirely on the theoretical side. Their ideas 
 were much the same, the} - fought for main- of the 
 same things, and carried them out according to the 
 special requirements of their respective media. The 
 vounger man's work is marked by the same detesta- 
 tion of the effetelv classic, In' the same hatred of am- 
 bitious and empty symbolism, by the same abhorrence 
 of futile finish, and by the same love of life in all its 
 manifold forms and phases. The} - also resemble each 
 other in their artistic restraint, for nothing could be 
 saner or more straightforward than the methods em- 
 ployed by each. 
 
 The revolution accomplished with such unsought 
 reclame by fidouard Manet in painting is being con- 
 
 C"0 
 
ducted by Troubetzkoy in the field of sculpture with- 
 out the least hint of exaggeration or intransigeance. 
 
 His nature is an essentially pacific one. He is utterly 
 devoid of those militant qualities which made Manet 
 the burn leader of that gallant little band which 
 fought so yaliantly for its very existence against the 
 persistent ascendancy of academic influence. Paul 
 Troubetzkoy possesses that broad creative uncon- 
 sciousness which belongs to simple, unsophisticated 
 souls. Full of novelty as his viewpoint is, he never 
 strives after those eccentric effects which delight the 
 taste of the decadent or the immature. His art is not 
 a perversion, but a presentation of reality. He feels 
 no desire to startle, disturb, or distort in an} - way 
 the normal vision of the average being. So close, 
 indeed, in theme is this art to the observation and 
 experience of the general public that one is apt to 
 overlook those qualities which so sharply differentiate 
 it from current production along similar lines. While 
 it is true that his subjects often resemble those of 
 Riviere, Bernstamm, or Maillard, who are to-day 
 working side by side with him in Paris, nothing could 
 be further apart than the results achieved in each 
 case. You could never confuse the work of Paul 
 Troubetzkoy with that of any other artist. The 
 stamp of his individuality is everywhere unmistaka- 
 
Young woman knitting 
 
Young Human seated on bench 
 
hie. And yet it must always be borne in mind that 
 he takes life quite as he finds it. lie dues not seek 
 to invent new forms, hut to do something infinitely 
 more difficult — to give fresh spirit and impetus to 
 those which already exist. 
 
 If you should chance to survey the field of con- 
 temporary sculpture with a certain fullness of under- 
 standing, you would encounter three dominant fig- 
 ures, three figures which, not alone by virtue of their 
 accomplishment itself, hut through the commanding 
 significance of their personality and influence as well, 
 occupy a place apart. The name of one, Auguste 
 Rodin, springs spontaneously to the lips; the other 
 two are Constantin Meunier and Paul Troubetzkoy. 
 This is, of course, not equivalent to saying that these 
 men are our three greatest modern sculptors, for such 
 a contention would he both invidious and juvenile. 
 It is merely that, in relation to a somewhat more in- 
 clusive view of art than is usually taken, their work 
 stands out in hold relief against a decidedly diffuse 
 and indefinite background. In art as in every phase 
 of organized activity, it is necessary to have a pro- 
 gramme, to move toward some specific end, and this is 
 eminently the case with the above-mentioned men. 
 They each present a clear image of that which lies 
 before them, and everything they undertake merely 
 ["53 
 
adds to its relative finality. Their work stands for a 
 certain definite sequence of ideas, and as such marks 
 a distinct epoch in the onward march of esthetic and 
 intellectual expression. 
 
 Radically different in most respects, they have one 
 additional point in common, and that is that, had they 
 so chosen, they might each have won commensurate 
 recognition in painting as well as sculpture. The 
 dry-points, drawings, and color sketches of Rodin 
 are among the most cherished acquisitions of the 
 discriminating collector; for the first fifty years of 
 his career, saving a brief period at the outset, Con- 
 stantin Meunier was exclusively a painter; and it is 
 needless to reaffirm the penchant Paul Troubetzkoy 
 has always displayed for brushes and palette. Boast- 
 ing so comprehensive an endowment, it is natural that 
 the work of these men should possess distinct graphic 
 as well as plastic appeal, and this is largely why it has 
 been able to exert such a profound and far-reaching 
 influence upon the popular mind. Their conception 
 of the functions of their craft has been liberal in the 
 extreme, and has met with corresponding response. 
 Through their combined breadth of vision and manip- 
 ulative dexterity they have broken down that hitherto 
 insurmountable barrier which has separated sculpture 
 from human it v, and have made their art a vehicle for 
 C"6] 
 
Young girl, seated, covering herself 
 
the portrayal of modern feeling, modern effort, and 
 modern li fe. 
 
 In the realm of plastic emotion Auguste Rodin 
 reigns supreme. No one has ever infused into cold 
 and intractable stone that same degree of passional 
 significance or given to the surface of marble a simi- 
 lar warmth and mellowness of tone and texture. The 
 imprisoned feelings of mankind throughout the ages 
 here find their unite vet eloquent expression. In these 
 strangely contorted or grandly simple forms, in these 
 bowed heads or upturned faces, these tense or re- 
 laxed limbs, may be read the entire story of mortal 
 desire, baffling and enigmatic though it be. While 
 this art has certain strong affiliations with the past, 
 it is modern in spirit, modern, above all, in its restless 
 search for that solace and calm which, alas, it can 
 never find. If the somewdiat hieratic secrets of latter- 
 da}- emotion are laid bare to us in the art of Auguste 
 Rodin, the salutary vigor of current industrialism is 
 the text of Constantin Meunier's more sturdy ob- 
 servation. Sculpture with Meunier leaves the ab- 
 stract world and comes squarely to earth, where it 
 chants, with a power and majesty hitherto unheard, 
 the solemn hymn of labor. The stalwart dock-band, 
 the miner, and the grimy puddler and foundryman 
 are bis heroes. There is no feverish anguish of body 
 
or of soul here. There is only work, work performed 
 with a rhythmic nobility which never fails to awaken 
 the sympathy and enthusiasm of the onlooker. 
 
 hull of purposeful unity as are the respective 
 legacies of Rodin and Meunier, they are not more 
 consistent in scope and aim than is that of the young- 
 est member of the group. Paul Troubetzkoy is the 
 plastic exponent of modern life in the truest mean- 
 ing of the term, lie it is who has brought sculpture 
 into the social circle. No one has expressed so 
 eloquently the endearing sentiment which enfolds 
 infancy and childhood, or the composite sympathies 
 of the typical man and woman of to-dav. Abstract 
 and passionate with Rodin, concrete and poignantly 
 human with Meunier, sculpture in the hands of Paul 
 Troubetzkov is placed at the disposal of contempo- 
 rarv society with a frank" naturalness such as it has 
 never before enjoyed. It was of course necessary 
 that we should first have attained that intellectual 
 force, that delicacy of feeling, and that refinement of 
 physiognomy which he depicts with such ease and 
 penetration, but having done so, it is fortunate that 
 he has been able to give these qualities enduring sem- 
 blance. Whatever he touches bears the stamp of 
 conviction. This art. (hough so delectable in spirit, is 
 devoid of superficiality. While facing fact with a 
 

 
 ^^H 
 
 ^^^Hv i 
 
 
 
 
 
 
 
 Model resting 
 
Spanish dancer 
 
certain ingenuousness, it goes deeper than is at first 
 apparent. It is to the lasting credit of Paul Trou- 
 betzkoy that he has given his medium wider applica- 
 tion: than it might otherwise have achieved. On look- 
 ing at these expressive statuettes or eloquent portrait 
 busts, on studying these children and animals, or 
 these maturer beings upon whom experience has left 
 its unmistakable impress, you cannot help realizing 
 that the world in which they have found themselves 
 is a free world, a world possessing air, light, and 
 olor as well as mere form. Conventional concep- 
 tions of sculpture disappear in the presence of work 
 mi supple, si, alert, and so animated, and art display- 
 ing a similar buoyancy and flexibility of spirit need 
 have no fear in confronting either the complexities of 
 the present or the still undefined problems of the 
 future. 
 
 C"3] 
 
The following numbers are not exhibited: 
 
 2, to, 17, 18, 22, 24, 33, 37. 40, 54, 55, 56, 
 57, 58, 62, 70, and 70 (the last-mentioned 
 number is not a piece of sculpture). 
 
CATALOGUE OF PORTRAIT BRONZES 
 AND OTHER SCULPTURE 
 
 i Monument of the Emperor Alexander III | 1SS1- 
 1894), Place Znamienskaia, St. Petersburg, dedi- 
 cated June 5, 1909 
 
 2 Project for a monument i>l the Emperor Alex- 
 ander II, Czar of Russia 1855 to [881, who from 
 1858 to iSr>i emancipated 23,000,000 serfs 
 
 3 Project for a monument of Dante 
 
 4 The Grand Duchess Serge 
 
 5 The Grand Duke Andre Vladimirovich 
 
 6 Tolstoy on horseback (1899) 
 
 7 Tolstoy on horseback (1910) 
 
 8 Bust 1 >f Tolstoy (plaster) 
 
 9 Bust of Tolstoy (bronze) 
 
 10 The two sons of the Prince Serge Troubetzkoy 
 
 11 Count Witte 
 
 12 Prince Leon Galitzin 
 
 13 Feodor Chaliapin 
 
 14 Anatole France 
 
 OS] 
 
15 Helleu 
 
 16 Baron Henri de Rothschild 
 
 17 M. Kramer on horseback 
 
 1 8 Auguste Rodin 
 
 19 Son ilia 
 
 20 Signor Giulio Savarese 
 
 21 The painter Giovanni Segantini 
 
 22 Signor Torelli-Viollier 
 
 23 Monsieur Zadoks 
 
 24 Sir William Eden 
 
 25 G. Bernard Shaw 
 
 26 Mr. William K. Vanderbilt 
 2j Mrs. William K. Vanderbilt 
 
 28 Elder daughter of Mrs. William K. Vanderbilt 
 
 29 Younger daughter of Mrs. William K. Vander- 
 bilt (bust) 
 
 30 Younger daughter <>t Mrs. William K. Yander- 
 bilt ( full length) 
 
 3 1 Mrs. Lydig 
 
 32 Mrs. Harry Payne Whitney 
 
 33 The Princess Gagarin with her daughter 
 
 34 Daughter of the Prince Scipione Borghese on 
 hi irseback 
 
 t,^, Daughter of the Prince Scipione Borghese (full 
 
 length) 
 36 Marquesa Casa Fuerte 
 
 C"6] 
 
6/ 
 
 3§ 
 39 
 
 40 
 4i 
 4^ 
 
 43 
 44 
 45 
 46 
 
 47 
 48 
 49 
 5° 
 5 1 
 S 2 
 53 
 54 
 55 
 56 
 57 
 58 
 
 59 
 So 
 61 
 62 
 
 The 1'rinccss Baratinsky (Mine. Lydie Yaworsk 
 
 Danseuse (Mile. Svirsky) 
 
 A hue. Decori 
 
 Mme. Gouion 
 
 Mme. 1 [oerneimer 
 
 The Princess Paul Troubetzkoy 
 
 The Princess Paul Troubetzkoy in street attire 
 
 The Princess Paul Troubetzkoy on horseback 
 
 Portrait of young woman 
 
 Young woman knitting 
 
 Young woman seated 1 in bench 
 
 Model reclining 
 
 Young girl seated, covering hersel f 
 
 Model resting 
 
 Spanish dancer 
 
 Hindu dancer 
 
 Portrait of young woman 
 
 The Might of Time 
 
 Father and daughter 
 
 Mother and daughter 
 
 The Indian Scout 
 
 Milanese fiacre in the snow 
 
 Russian sledge and driver ( izvostchik ) 
 
 Samoyed, reindeer, and dogs 
 
 Camel with Bedouin rider 
 
 Young woman seated, with dog 
 
''4 
 
 <>5 
 66 
 
 r >7 
 68 
 69 
 
 / 
 
 7- 
 73 
 74 
 
 /3 
 
 76 
 
 77 
 78 
 79 
 80 
 
 Young woman feeding a dog 
 
 Little girl kneeling, with dog 
 
 Little girl standing, with dog 
 
 Little girl with dug lying down 
 
 Little girl with bear 
 
 The wcil f "Vasea" 
 
 Young female wolf, "Marguerite" 
 
 Samoyed dog lying down (1) 
 
 Samoyed dog lying down (2) 
 
 Italian hunting-dog (brach) 
 
 Mare and foal 
 
 Pure blood-horse belonging to Air. William K. 
 
 Vanderbilt 
 
 Elephant 
 
 G >w' grazing 
 
 Cow with head turned back 
 
 Ghouls (Didactic) 
 
 Troubetzkoy in his studio 
 
 Athlete (Health and Strength) 
 
 t>8n 
 
Hindu dancer 
 
Portrait of young woman 
 
Father and daughter 
 
4' 
 
 \ 
 
 Wr-i M |> - 
 
 8A 
 
 .4- 
 
 <***■ 
 » 
 
 
 Mother and daughter 
 
The Indian Scout 
 
Samoyed, reindeer, and dugs 
 
Young woman seated, with (log (first view) 
 
Young woman seated, with dog (second view) 
 

 5 
 
 *v 
 
 
 «t -c ■— 
 
 /^^^^■*^^^^V- 
 
 Yearns; woman feedh 
 
Little girl kneeling, with do 
 
Little girl standing, with do 
 
Little gii-l with bcai 
 
If, "Marguerite" 
 
Italian hunting-dog (brae 
 
M;li-l- ami foal fruni the slaliles of I 
 
 Tunicheff 
 
Elephant 
 
C u\v Kraziny 
 
f *l 
 
 
 
 
 m - iirfr 
 
 jj 
 
 fe^i - ^jdj H 
 
 
 
 'vj 
 
 In 
 
 
 ..:: 
 
 Athlete (Health and Strength