"Moqui Runner", "Prayer for Rain"

"A Primitive Chant"

A MacNeil "Sun Vow"

"A Chief of the Multnomah"

Chief Manuelito of the Navajo sculpted by Hermon A. MacNeil in 1895 two years after the Chief's death at age 75.

This topic seems a strange fit for a website devoted to the art of Hermon Atkins MacNeil, an American Sculptor of the 19th and 20th centuries, born in Massachuesetts of Scottish descendents. 

Please, bear with me briefly while I take you on a journey toward today’s Native American Day story.  

STEP ONE:  An arrogant sense of Manifest Destiny often accompanied many 19th and 20th Century concepts of American culture, history, and pride.  An inescapable irony in our own 21st Century, is that Hermon MacNeil and many of his contemporary sculptors placed many Native American images at the center stage of the historical and allegorical sculptures of World Fairs from 1890 to 1915.  That is quite visible throughout this website.  I am beginning to find that MacNeil’s embrace of Native American themes in his sculpting, especially from 1895-1905, still offers us lessons more than a century later in understanding culture, anthropology and life values. 

STEP TWO:  Today is Native American Day in South Dakota, my home for the last 31 years.  I understand that California is the only other state celebrating a Native American Day.  “In 1989 the South Dakota legislature unanimously passed legislation proposed by Governor George S. Mickelson to proclaim 1990 as the “Year of Reconciliation” between Native Americans and whites, to change Columbus Day to Native American Day and to make Martin Luther King’s birthday into a state holiday. Since 1990 the second Monday in October has been celebrated as Native American Day in South Dakota.” [ Wikipedia: Native American Day:  http://en.wikipedia.org/wiki/Native_American_Day ]  In April 1993, Governor George Mickelson, a friendly giant of a man, and eight civic leaders were killed in a tragic plane crash in Iowa.  His death was a great loss to this state and to hopes of Reconciliation.  We still observe the day, even if it is in a subdued fashion.

STEP THREE:  I am Daniel Neil Leininger, founding webmaster of HermonAtkinsMacNeil.com.  I am a Caucasian descendant of Scottish German stock. My maternal grandfather. Thomas Henry McNeil (1860-1932), was a cousin to Hermon Atkins MacNeil (1866-1947).  My mother, Ollie McNeil Leininger, always called Hermon MacNeil her “Uncle Hermon.” My middle name, Neil, was my mother’s gift.  It reminds me of my heritage.

STEP FOUR:  In researching the sculpture of MacNeil in recent years, I have developed a growing sense of “historical irony” in his placement of Native American images to symbolize the vitality of American expansion westward through his cultural era of Manifest Destiny.  His choice moves against the strong current of self-absorption in contemporary cultures, both his and ours.

MacNeil's sculpture design for the Award Medals at the Pan American Exhibitition, Buffalo, NY 1901 (reverse). Note the shields with South and North American continents

EXAMPLES 1-5: See photos above:

EXAMPLE 6:  MacNeil made a Pan American Exhibition Award Medallion with an indigenous North American and an indigenous South American sharing a Peace Pipe.  Probably a corrupted mix of Native images, but it is a allegory, a visually symbolic representation carrying a larger meaning.

THE STORY OF MacNEIL and CHIEF MANUELITO:

MacNeil never met Chief Manuelito.  Two years after his death, MacNeil made a statue of him using only a photograph supplied by trader C. N. Cotton. The year was 1895.  Thirty years earlier, Manuelito had survived the “scorched-earth” missions of the U.S. Army under Gen. James H. Carleton and Col. Kit Carson, the “Long Walk” (a 320 mile forced march of men women and children through the deserts) to Bosque Rodondo, and the imprisonment of Native peoples there for four years. 

Navajo Chief Manuelito - taken between 1868 and his death in 1893. He was a war Chief of the 1860. (photo Credit: ASU- Denver Public Library).

MacNeil made the statue  tribute out of available materials.  He built a wooden frame, a wire mesh surface and sculpted cement around it forming an eight foot two inch tall image of the Chief wrapped in a bright native blanket.   His techniques seem to mirror the many ‘staff plaster’ statues he made for the 1893 Chicago Worlds Fair.  He was visiting the southwest that summer with friends Hamlin Garland (writer) and C.F. Browne (artist) to experience the vanishing Native culture at the urging od E. E. Ayers and others.

As the story goes, after he finished he asked Cotton if the piece was acceptable.  Cotton left and brought in a group of older Native women to enter the canvas enclosure where MacNeil had setup a  open-air studio workshop.  After much weeping, the women, one of whom was Manuelito’s wife, came out obviously moved by the experience of being with the piece. 

See my previous stories on Manuelito and MacNeil, and MacNeil’s two friends, Hamlin Garland and C.F. Browne.

Edward E. Ayers was the  benefactor of the three artists  who urged them to make the trip.   A former member of the First California Cavalry Volunteers of the U.S. Army in AZ during the Civil War and the Native American oppressions of the 1860s,Ayers was stationed at the Cerro Colorado Silver Mine (now a ghost town) south of Tuscon in Pima County AZ.  He was in charge of 14 men who guarded the silver mine from robbers.  While there he happened on a copy of William H. Prescott’s Conquest of Mexico placed there by the mine’s owner Col. Samuel Colt, of revolver-fame. Ayers devoured the book repeatedly and began his life-long insatiable interest in Native American literature, manuscripts, and culture.  He became an American business magnate, who is “best remembered for the endowments of his substantial collections of books and original manuscripts from Native American and colonial-era history and ethnology, which were donated to the Newberry Library and Field Museum of Natural History in Chicago.”  [ Wikipedia ]   (Editors Note: Ayers passion for understanding and preserving Native American culture continues into the 21st Century  through the legacy of his estate now bequeathed to Newberry Library, Field Museum and related archieves.)

One hundred years after MacNeil make the trip and completed the piece, Joe Di Gregorio, (Gallup businessman and grocer), stepped in to rescue the Manuelito statue.  It was badly needing repair and being stored in a warehouse going up for sale.   Leslie Linchicum of the Albuquerque Journal relays this account in her March 2010 story:

“Longtime Gallup grocer Joe Di Gregorio and his wife, Christine, own the statue. They took custody after the building’s owner, in negotiations to sell to an out-of state buyer in 1983, turned to Di Gregorio and whispered, “Don’t let the bastards take the Indian.” Di Gregorio didn’t. He agreed to take custody of Manuelito and promised to keep him in Gallup.” ["Navajo Leader Stands Tall" Albuquerque Journal, March 11, 2010]

Now 116 years after MacNeil’s visit, McKinley County Fine Arts Commission in Gallup, NM is restoring the nearly 9 foot fragile artwork that MacNeil built in an outdoor tent.  “Carolyn Milligan, chairwoman of the … Commission, has estimated that it will cost $25,000 to $38,000 to restore the sculpture, which has deteriorated from a hundred years of rail yard soot, showers with a fire hose and a well-meaning but inept repainting.” 

Milligan continues, “The 1,000-pound piece is fragile, …. Wherever it stands, she said, it will probably attract crowds.”  “It’s really quite a commanding piece,” Milligan said. “And it’s for the people.”

BEST WORDS OF THE DAY: “Don’t let the bastards take the Indian.” MacNeil and Manuelito would probably smile to hear those words.  While virtually all of the ‘staff plaster’ sculptures of the World Fairs have crumbled to dust, Manuelito still stands tall. 

After all, he does belong to the people, centuries of people, both Native and otherwise. 

THAT’s WHY I BELIEVE THAT: MacNeil’s embrace of Native American themes in his sculpting from 1895-1905 still offers us lessons in culture, anthropology and life values for the 21st Century.

MORE HISTORY:

1.) For further irony read my previous stories of  the making of Hermon MacNeil’s 1895 sculpture representing Chief Manuelito of the Navajo or read history of this Chief of the Navajo starting here.

2.) William Wroth’s “Long Walk” to Bosque Redondo  also provides poignant insight into this period of the United States management of Native American peoples and the life of Chief Manuelito who was part of that “Long Walk” and signed the treaty of 1868 that sought to restore Navajo lands after the disastrous interventions of the US government.

3.) “The Long Walk”  A Ten (10) Part video story of the Navajo “Fearing Time” accounting atrocities against the Navajo people from 1863 to 1868.  Researched and produced with support of the George S. and Delores Dore’ Eccles Foundation and the Pacific Mountain Network.   Part 1;  Part 2;  Part 3;  Part 4;  Part 5;  Part 6;  Part 7;  Part 8;  Part 9;  Part 10.

4.)  “The Long Walk”   For a Navajo perspective view this video by Nanebah, whose great-great grandmother survived “The Long Walk”.

5.) “300 Miles – Or Long Walk Of The Navajo – Richard Stepp”  For a musical tribute with an ‘American Indian Movement’ perspective.

6.) Leslie Linthicum, staff writer for the Albuquerque Journal,  gives a delightful article, “Navajo Leader Stands Tall”.   It offers historical irony from our 21st Century on attitudes toward Native American culture  through her story of the ‘management’ and ‘preservation’ of MacNeil’s iconic statue of Chief Manuelito.

Related posts:

1. 1901 Pan-American Exposition – Buffalo, New York ~~ “The Rainbow City” (10.3)
2. MacNeil Sculpture “Meets Me in St. Louis” (20)
3. Expositions and World’s Fairs ~ Hermon A. MacNeil (15.6)
4. MacNeil at the 1893 Columbian Exposition ~ ~ ~ THE CHICAGO YEARS ~ ~ (10.8)
5. http://hermonatkinsmacneil.com/2011/03/26/1904-louisiana-purchase-exposition-saint-louis-worlds-fair/