Abstract
SIX years ago, the Field Museum of Chicago formulated a bold and novel project. Dissatisfied with the conventional lay-out of the anthropological section of the average ethnographical museum, it conceived the plan of a sculptural Hall of Man, to consist of one hundred sculptured heads and figures, modelled from life, and embracing the main surviving anthropological types-a far-sighted break with museum tradition, which, if judged solely on the statistical evidence of subsequent visitors, has amply justified the trustees' vision. To Miss Malvina Hoffman, who already at that time filled a unique and outstanding position in the world of sculpture, was entrusted this colossal task; and this volume- well named her Odyssey-leads up, through her early years of struggle, to the inner story of its achievement.
A Sculptor's Odyssey
By Malvina Hoffman. Pp. xxii + 416 + 128 plates. (London and New York: Charles Scribner's Sons, Ltd., 1936.) 24s. net.
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R., P. A Sculptor's Odyssey. Nature 139, 487–488 (1937). https://doi.org/10.1038/139487b0
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DOI: https://doi.org/10.1038/139487b0
