Sculpture for the Home

Fountains wreathed with water babies, alabastrine goddesses and war groups in battling bronze were the common stuff of U. S. sculpture before Primitivism came in and chiseled its ears off. Lately critics have observed that from that chastening sculptors as a class have emerged with a burst of modest but lively ingenuity. Last spring a new Sculptors' Guild took over a vacant lot in Manhattan. made news with a big outdoor exhibition (TIME, April 25). Last week the Brooklyn Museum's luminous galleries held a more impressive show by the same Guild, whose membership includes the illustrious names of Manship, Zorach and Sterne, besides some 50 other Eastern artists.

Notable was the comparatively small size of the pieces on exhibit (85 out of 109 under 30 inches high). If the Guild's outdoor exhibition was meant to show Sculpture for the Garden, this was apparently meant to show Sculpture for the Home. Sculptor William Zorach's Youth won a great deal of admiration for its clean-cut and subtle modeling; Robert Cronbach's well-constructed little group Industry, and Warren Wheelock's exuberant figure of Walt Whitman, Salut an Monde (see cut), showed a new ease with planes and masses. Both made art critics wish for their enlargement to a less inti mate scale, and Wheelock's conception of Old Brooklynite Whitman stirred up local talk of monumentalizing the poet. In Manhattan, meanwhile. Justin Sturm, famed ex-Yale end ('21). ex-novelist. Westport, Conn.'s most popular sculptor, had an exhibition at the Karl Freund Galleries in which a wonderful lack of subconscious or other depth (see col. 2) appeared in several homey, well-finished studies.

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