The Munich studio Kuhne Beveridge interview Feb 1914. Richmond Times Despatch by J Berghstal

 

A “Problem” Sculptress

Newest Statues By Miss Kuhne Beveridge, the American Artist, Who Endeavors to Model the Human Passions and Tragedies in Clay

 

By J Bergstahl

The Distinguished art Critic

Munich, Feb 18

 

“I believe” said Kuhne Beveridge the American sculptress, whom I visited in her Munich studio to-day, as she showed me her latest works, executed since the outbreak of the war, “in dealing with the world simply. Humanity is mostly born with a trend toward the ground- but Mother Earth is beautiful and warm, and even the evilest things buried in her soon become purified.  Nature, knowing all, pardons all.

“I endeavoured in my group. “The Vampire” which excited not only interest but much opposition several years ago, particularly by Mr Comstock, to show that sexuality is the cause of all action and all the wonders of nature and in life.

“I do not mean to shock or offend aby the word sexuality.  I do not thereby mean sin or stupidity, of which invariably bring regret.  But what I do mean is the wonderful mystery, the divine unrest of nature.  I should like to tear the veil of hypocrisy away and show all the marvellous miracles of life. We are always seeking to perfect, and yet it is the human Human who is loveable, so interesting.  A perfect man or woman would bore us beyond words.  It is the weakness in others that endears them to us. 

 

A Strange sculpture of Life’s Great Tragedy.

 

This sculpture of a young girl holding a skull in her hands is called the “Last Hour” or the “Lost Opportunity” Is not the greatest tragedy- to have failed to grasp the opportunity? This last statue is “The Fleeting Moment”  Keat’s words: 

“ ‘ Stop and consider: life is but a day. A fragile dewdrop on its perilous way’, inspired me in this work.”

I stood long before this statue- the intense excitement of swift motion almost takes one’s breath away.  One is carried along at express speed-the figure vibrates- it lives- it runs. “

Then Miss Beveridge showed me two portrait statuettes – the first a little English girl, extremely characteristic in a boyish, athletic attitude, the feet far apart, hands in pockets, an impertinent, little, aristocratic English face.  Beside this statuette stood one of Sohula as Beckmesser as he sings in the Bayreuth. The personality of the singer and that of the role he portrays are most cleverly brought out.

The artist then showed me “Mental Science” A very unique example of her work. She said, as she pulled the white sheeting from the marble group:  “I believe in mental science.  I believe that mind completely dominates matter, and that faith can overcome all obstacles. “The greatest secret in life is to learn to concentrate.  This statue is ‘Mind Over Matter.’ “

Then Miss Beveridge showed me a bronze statue of Olive Sanden as “Salome”.  It was full of cruelty, passion and disdain-it was Salome.  Can I say more? 

 

Audacious Treatment of marriage Problems.

“I will now show you a simple group of two human beings – It illustrates that when we love we live. ‘It is called Possession’.

“I fear,” said the sculptor, and smiled as she led me into a second studio to two big marble groups, “that these groups will hardly meet with the approval of my country women. I am, however, not illustrating the American woman’s condition or temperament, but womanhood in general.  This first group I call ‘The Yoke’.  Woman’s Yoke is man, and in this I have essayed to show his disdain of women- but he needs her.  They are chained together for all eternity, and he cannot get on without her.  I do not wish to humiliate the modern woman, but I firmly believe that we love being under the yoke.

“The second statue is ‘marriage’ – i.e., it is my conception of marriage-bound together, hands and feet-all action hampered, utter boredom, complete unhappiness.  Perhaps it is very cynical, but I have never seen a happy marriage, and I can only portray what I have seen felt or imagined. “

She turned and drew aside the curtain.  “It is not every woman.” she said. “who will show the world her greatest weakness, but this group I am about to show you illustrates mine.”

I must say that the meaning of the dashing group before me, although it was full of purpose and action, remained an enigma to me until the artist explained it. 

“It is,” she said, “Inspiration.” The giantess Imagination is running away with the dwarf Reason. The woman is larger than the man, her quickness is greater than his strength, she pulls him with her – he wishes to remain at his work, but she drags him on to luxury.  She is treacherous and greedy.  One hand she holds out willing to sell herself for luxury.  The woman here symbolises imagination. Now! I will let you peek into my chamber of horrors, which will illustrate my theory of imagination.  The ‘Mystic Hands’ is a work I did several years ago.

I drew back in horror, for in the most realistic mannor I saw a young woman struggling in the hands of an assassin.  Out of a block of marble, in truly Roninesque manner, came the torso, arms and head of a woman struigglimg in agony, trying to free herself from the hands of a ruffian.  He holds in his right hand a stiletto, which he is about to press into her breast, and his convulsed, passionate left hand is strangling her.  His face is only dimly seen in the background of the marble.

 

I remained silent before this most horrifying work and merely acknowledged that Kuhne Beveridge’s greatest work must be from her imagination.

“You have had enough” she said “We will have some tea and I will introduce you to my tower, where I spend my happiest moments.”

From a large studio we entered a circular tower with on large window overhanging a spacious garden and will a small window deep in the thick wall, which reminded me of an old castle.  The studios had been big, cold, simple rooms – then tower breathed femininity. A great luscious pink couch with quantities of exquisite cushions in different and most harmonious greens- a corner bench along one side of the wall, and on the wall, excellent drawings and paintings.

“When we have had tea.” She said, “ I will show my two greatest works-not works of the imagination, just simple big truths.”

And after tea I saw them.

The first was “Maternity,” a statue I shall never forget.  A woman is courageously standing the costs of motherhood.  The symbolised globe and the weight of the fruit denote what she must suffer, while the expression of her face shows that the pain is outbalanced by the supreme joy of maternity. 

My hostess explained: “The universal craving of every man and woman with whom I have come into contact since this awful war broke out has been to have children, and this universal longing for posterity inspired me to do this work. Now you are terribly tired she continued, “but you must see my war monument.  It is not dramatic, but it shows you one of Germany’s greatest weapons and three of her bravest soldiers.  The weapon I mean is K bread (war bread) and the soldiers are the women and children.

“It is a pity and an admiration for a noble grand nation that I have done this work. A nation that I have watched as a whole and individually during each day of this long way: a nation that has never failed in honour, in bravery or in faith.  Faith in God. In the Emperor and in its own strength.  I hope the children in the group will show how really good K Bread is and that the size of the loaf will illustrate that there is plenty.”

Some one once called Kuhne Beveridge a problem sculptor.  I think she is.