ventions and introducing a new manner of seeing and representing Nature.
The differing phases of Painting in the nineteenth century have had their effect upon that art as a whole. Each one has been important, not only in the country of its special development, but in other lands, each distinctive quality being modified by individual and national characteristics.
In the early decades of the past century Sculpture was "classic" and conventional rather than natural and sincere. A revolt against these conditions produced such artists as Rodin, St. Gaudens, MacMonnies, and many less famous men who have put life, spirit, and nature into their art.
In Sculpture as in Painting many more subjects are treated than were formerly thought suited to representation in marble and bronze, and a large proportion of these recent motifs demand a broad method of treatment—a manner often called "unfinished" by those who approve only the smooth polish of an antique Venus, and would limit sculpture to the narrow class of subjects with which this smoothness harmonizes.
The best sculptors of the present treat the minor details of their subjects iii a sketchy, or, as some critics contend, in a rough imperfect manner, while others find that this treatment of detail, combined with a careful, comprehensive treatment of the important parts, emphasizes the meaning and imparts strength to the whole, as no smoothness can do.
