The Art of Albert Stewart
By way of introduction, Albert Stewart was part of a greater generation, more so, because of the width and breadth of Faustian man in both his search and in his study of what is, truly the Art of a Generation – in fact, the art of an Epoch.
Albert Stewart was born in Kensington, England in 1900.
He displayed an early talent in drawing, and an interest in animals as subjects. In 1908 he moved to the United States with his grandfather, and took up sculpting in 1918. After serving in the RAF during World War I he returned to the United States and studied art at the Beaux Art Institute of Design and Art Students League. He worked as an assistant to his mentor, Paul Manship, from 1925-30. Manship was a leading Ameican proponent of the archaic trend in modern sculpture, and his influence has a formative effect on Stewart’s work.
Stewart experienced success early; after his bronze bear Silver King was acquired by The Metropolitan Museum of Art in 1925 he received several commissions for monumental architectural sculpture. Among these were the stone dolphin sculptures for the Seamen’s Memorial in New York City, 1930, and the pediment sculpture for the Department of Labor in Washington, D.C., 1935.
Stewart was recommended to Millard Sheets and President Jaqua when they were looking for a sculptor for the art department at Scripps. They brought Albert Stewart to Claremont in 1939 to teach Humanities and sculpture. As a teacher he took a traditional approach to sculpture, insisting on anatomical correction, and simplification of form. Several works by Stewart stand on the Scripps campus: Man and Nature (1965) can be seen in front of the Humanities building, Eternal Primitive (1965), a mother and child, is situated in the Margaret Fowler garden, and the bronze fawn that drinks from the fountain in the Chinese garden to the west of the Mallot commons (1952).
Unfettered by the art of Dadaism and Cubism, a ‘rational’ by-product of semitic and other non-european influences (in contrast to the western), the art of the early 20th century was filled with extremes of both right and left; the essence of each makes a striking statement as to just how we, and they as artists, saw the world.
In offering this small glimpse into Albert Stewart (more to come in the future), one is reminded of other works of his time-period and, relatedly, Arno Breker comes to mind, as his epic proposals and culminating works were, as well as too become, the expression of a triumphant people, as well as to experience their life-tragedy.
During the 1930s Stewart worked as a Works Progress Administration (WPA) artist. Throughout his career Stewart frequently was employed to create architectural sculptures. In 1939, he was appointed head of the sculpture program at Scripps College in Claremont, California at the invitation of Millard Sheets. He moved to California and stayed there the rest of his life.
His Animalia: a brilliant collection of animal figures, as Albert was close to nature, includes many pieces from the collection of Stewart’s daughter, Patricia Stewart Jump, who has dilligently and lovingly maintained her Father’s legacy. Animals were a recurring theme during the prolific career of this artist, nationally known for his animal and architectural sculpture.
Stewart’s work can be found on major public buildings throughout the United States. Among his most visible commissions are the facade figures on the Los Angeles County Courthouse, created in 1956, and the stone figures on the Scottish Rite Temple on Los Angeles’ Wilshire Boulevard, completed in 1960. Ventura County, Ca. residents can also see his work at Our Lady of the Assumption Church on Telegraph Road in Ventura, where he created the Stations of the Cross and two side altar figures.
The world of the West was, in the early days of Albert Stewart, a cauldron of political hacks, esotericism, and utopian philosophies which, as delivered in oratory, and written works, were also seen in the art which was a by-product of such individuals. Moreover, as our struggle is not limited to the scenes of battle and chaos there are, nevertheless, battles of a spiritual and mental nature as well; the value of art is not simply for the individual, but for the group as well – this we term Public Art, and has been used to foster such ideals as courage, veneration of worthy men and women, historical situations best suited to specific peoples and instances – in short, the veneration of the race-culture, through its monuments and artistic memories (Poetics, for instance, has survived for milenia).
The Public Art we see today, is a far cry from that of our Fathers of yesteryear.
It is well known, that the very scenery one looks upon in the early morning is of primary importance, and one but needs be reminded of what it was like, driving to work, even in a city like Los Angeles when, for a generation and more, it was inhabited with Art, real art, from the essence of our people, smiling down upon you as you traveled hither and yon; the area of these endeavors covered the whole nation, coloured only by the regional and specific flavors associated with them.
What of today?
A rising West is predicated upon the reinsertion of radical Traditionalism, along with a solid dose of Authority. Moreover, in this realization, the necessity of influencing a New generation of artists is essential to the birthing and extension of those values inherently Western and will, with the effort of all of us, develop into a reaffirmation of not only art, but in Beauty, Harmony, Strength and Vision which acompany a life which sees itself as unique.
Author Kerry Bolton has completed a new work, Artists of The Right, which this author has not seen, but expects it to be a worthy addition to those who have served their folk-community, by serving their own calling, and is anticipated in the near future.
Let us hope that our future is created, or at least directed, by those of us who see the world in a White Nationalist vision of amity, and cooperation with our brothers and sisters – the World over.
More next time…
The Staff at Rise of The West