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A Basket of Chips Four days later we sailed for America."" We both went on board hoping for a good voyage. The first day my wife went to the meals. There was one passenger that had to be carried on in a litter,- the wife of Daniel French, the sculptor? We thought it a slim outlook for her as a sailor, but by the third day she was up on deck feeling fine, and my wife was in the cabin, very seasick. Part of each day and as long as she could stand it, I helped her on deck to get the fresh air. But she could retain no solid food. She could eat all right when we landed, but was extremely weak. In contrast to what I had met in Europe, I must tell our experience on landing in New York,"' after our year in Paris following our marriage. She was never a good sailor, and being pregnant, did not retain one meal during the twelve days we were on the sea. We thought that it would be easier to take a 35 With Salon acceptance of P~ejzwntion fey Dinner, Harwood's return to America was that of an artist whose local reputation was assured. He was con- sidered a gifted and internationally successful academic realist who worked in subjects and a manner reminiscent of the great Dutch and French masters. That Harwood was an avid student of such painting seems proved by such works as his Copy of n Rem brnndt Self-Poytmit in Salt Lake City's East High School Col- lection and GlenneTs in the spirit of Millet owned by the L. D. S. Church. Jane K. Hearn, Judith Giles, Marie Jones, and Ruth K. Stone, Cntnlogzle of Ayt in Snlt Lnke City (Salt Lake City: Privately printed, 1974) vol. 15, p. 3; Linda Gibbs, "L. D. S. Collection Registry," no. 560, typescript list with slides assem- bled in late 1970s, L.D.S. Museum of Church History and Art files. 3G Daniel Chester French (1850-1931) was one of the greatest realist sculp- tors America ever produced. French "shared the major commissions of the late nineteenth century with [Augustus] Saint-Gaudens," and "his [French's] ability to translate American types of men and women into idealized sculptural symbols ensured his continued popularity well into the twentieth century." Daniel M. Mendelowitz, A History of Americnn Art (New York: Holt, Rinehart and Wins- ton, 1960), 333. Among the most famous American sculptors of the late nineteenth and early twentieth centuries were not only Saint-Gaudens and French, but Harwood's friend Cyrus Dallin, from Springville, Utah; Gutzon Borglum, from Saint Charles, Utah Territory, later Idaho; Solon Borglum, from Ogden, Utah; and Harwood's student Mahonri Young, from Salt Lake City, Utah. Like Harwood, these artists profited from training in France in the tradition of the Ecole des Benz/x-Arts. As opposed to Harwood, all these well-known American sculptors from Utah pursued their careers elsewhere. Olpin, Dictionmy, 20-25, 47-57, 285-93. 37 They arrived in New York City on May 16, 1892, according to Harwood. 44 |
