WELCOME to the “Hermon A. MacNeil” — Virtual Gallery & Museum !

~ This Gallery celebrates Hermon Atkins MacNeil, American sculptor of the Beaux Arts School. MacNeil led a generation of sculptors in capturing many fading Native American images and American history in the realism of this classic style.

~ World’s Fairs, statues, public monuments, coins, and buildings across to country. Hot-links (on the lower right) lead to photos & info of works by MacNeil.

~ Hundreds of stories and photos posted here form this virtual MacNeil Gallery of works all across the U.S.A.  New York to New Mexico — Oregon to South Carolina.

~ 2016 marked the 150th Anniversary of Hermon MacNeil’s birth on February 27,

Take a Virtual Journey

This website seeks to transport you through miles and years with a few quick clicks of a mouse or keyboard or finger swipes on an iPad.

Perhaps you walk or drive by one of MacNeil's many sculptures daily. Here you can gain awareness of this artist and his works.

For over one hundred years his sculptures have graced our parks, boulevards, and parkways; buildings, memorials, and gardens; campuses, capitols, and civic centers; museums, coinage, and private collections.

Maybe there are some near you!

Search Results for "Hamlin Garland "

Rarest of the Rare!   A very rare Silver – Society of Medalists #3 – by ‘H. A. MacNeil’ (in lower right).

It is “Silver.”

Only twenty-five were minted in 1931.

In the summer of 1895, Hermon MacNeil traveled to the Southwest.  With Hamlin Garland and Charles Francis Browne, they journey by railroad to the four-corners region of New Mexico, Arizona, Colorado and Utah.

With Garland as guide the sculptor and the artist witnessed Native American culture first hand. They visited the Hopi and Navajo reservations immersed in Native American life. They saw the “Prayer for Rain” ~ the Snake Dance ceremony depicted here on the SOM #3.

The “Prayer for Rain” depicts the Moqui (Hopi) runner carrying the snakes to the river to activate the rain cycle of nature. [SOM #3 Reverse]

This Society of Medalists Issue #3, in Silver, by Hermon MacNeil is rare.  This silver “Beauty” is the only one I have seen in my ten years of “Searching for Uncle Hermon” and producing this website.

ONLY 25 were made in SILVER (99.9%).

The Silver issue of MacNeil’s medallion is among the rarest of the rare.  

Over sixty-times that number  were struck in  Bronze  (1,713).  Now nearly eight decades later, those are more common, but also rare and collectible.   [See pictured below — at the end of this article — this author’s collection of the varied Bronze patinas of S.O.M #3.]

The next year (1932), Frederick MacMonnies sculpted a medallion celebrating Charles A. Lindbergh historic flight.  250 of those medallions were struck in Silver.  That makes the Lindbergh issue ten times more common than MacNeil’s “Hopi”.  (10 X 25) — 

Silver minting of most SOM Issues quantities usually ranged from 50 to 125.  Most often 100 silver specimens were struck.  SO the 25 of the MACNEIL’S “Prayer for Rain” creations are twice as rare and up to 10 times as rare as other SOM Issues.

This, all Society of Medalists (SOM) in Silver can be considered rare.  However, this MacNeil piece is definitely “THE RAREST OF THE RARE!”

This images that MacNeil’s placed of the Obverse and Reverse had been burned in his visual memory in 1895.  They lived in his artist’s awareness for decades. It is no stretch to say that they inspired numerous sculptures and pieces that came out of his studio. 

“The Moqui Runner,” “The Primitive Chant,” were “living” in his mind when he first saw these scenes. Then, three decades later, he chose them for his own theme and design.  Thus, the 1931 Society of Medalists Issue #3 became his offering to this young series by American Sculptors.

The following are just a few of the sculptures and monuments, which re-capture some of the Native American culture and history first observed in this 1895 trip to the Hopi (Moqui) people.

By comparison, the SOM’s issued from:

  • 1930 to 1944. ~ struck 2X to 5X this quantity of SILVER medallions. 
  • 1945 to 1950. ~ those SOM silver issues were minted in quantities of 50 to 60.
  • 1950 to 1972. ~ NO silver medallions were struck. 
  • 1973 to 1979. ~ Silver medallions ranged from 140-200. 
  • No Silver coins were struck from 1980-1995
  • In 1995 the “Society of Medalists Series” closed production.

In 1931 design the the Society of Medalist medal #3, Hermon MacNeil chose to immortalize his memory of these images from 1895 in rare silver — 99.9% fine silver!

A Rare Beauty Indeed.   Hi Ho, Silver !

MacNeil Display MacNeil Medallion (front and reverse) in Center. Framed by 10 SOM #3 (Obverse & reverse) of varied patinas. SOURCE: Collection of Webmaster

 

 

 

 

 

 

SOURCES:

Information taken from the six page list entitled: Medal Collectors of America; Checklist of “The Society of Medalists” Issues 1930 – Date. Originally written by D. Wayne Johnson with rights retained by him; used with permission.

His listing includes the original pricing supplied by Paul Bosco in the inaugural issue of the MCA’s publication “The Medal Cabinet” (Summer 2000) for the silver issues and Paul’s update values for the bronze pieces that appeared in the Spring/Summer 2002 edition of “The MCA Advisory.”

Hermon Atkins MacNeil (1866-1947) – “Hopi” (Obverse) and “Prayer for Rain” (Reverse)  Society of Medallists (SOM), Issue #3 of 1931, was based on MacNeil’s “Moqui (Hopi) Runner” statue of 1897.  This was the only SOM issue that MacNeil would ever sculpt.  Yet nearly fifty years later (1943), he vividly described these images of his 1895 travels to the Hopi (Moqui) Mesa in his Autobiographical Sketches.

MacNeil’s brief artists intro accompanying the medal is as follows:

Four examples of various finish patinas medals that MacNeil selected for SOM#3 in 1931 (from collection of Dan Leininger, webmaster)

Four examples of various finish patinas on medals that MacNeil selected for SOM#3 in 1931 (Reverse view. From collection of Dan Leininger, webmaster)

“The two incidents of the Hopi Prayer for Rain on the mesas of northeastern Arizona depicted on this medal are chosen by your sculptor because of the extraordinary vital enthusiasm and power that the Indians throw into this ceremony. Having witnessed it and been thrilled by the intensity of their emotion and on further study by the complicated and perfectly natural development of this drama, I cannot help feel that in it we find a basic note underlying all religions. All these Southwest Indians, living as they do in an arid region, have developed their religion along the lines of their greatest need –water.”

In the documentation accompanying each medal, MacNeil offered the following additional narrative of his witnessing of this ritual nearly 36 years earlier while on his 1895 venture to the Southwest with Hamlin Garland and Charles F. Browne:

This is one of their greatest and most important ceremonies. Occurring in August, it is filled with ritualism for nine days and in their kiva, an underground chamber, they have ceremonies with these snakes that have been gathered by the antelope and snake clans of their tribe for six days, from the north, east, south and west, also from above and below, therefore from all the directions of the universe. These snakes, so far as our best authority goes, although a portion of them are poisonous varieties, are not tampered with but are handled freely by the Indians, both during their underground ceremonies, and later on the last day above ground, in their public ceremony. During the last day ceremony they dance two and two, one with the snakes in his mouth, sometimes two at a time, while the other, accompanying him, wards off the head of the snake from the face of his companion with an eagle feather. It will be remembered that the eagle preys on the snake in nature and the smell of the eagle feather is supposed to frighten the snake with the intention of preventing him from biting.  This ceremony was so intense and apparently so vital to them that although I myself saw two Indians bitten, they seem to be so completely under the control of the spirit that although I watched for further developments, yet there seemed to be no swelling or poisonous effects from the bites.

Even though the dancing takes place after the participants have taken hardly any food during the nine days, yet immediately after the public ceremony, which is performed in a circular action around the sacred stone on the mesa at Waslpi, they each take an emetic. After circling twice around the sacred rock, the one bearing snakes in his mouth emits them and a third follower immediately grabs the snake from the ground and carries it back to a little improvised enclosure of cottonwood boughs. After all the snakes have been used on this manner each Indian grabs into the bunch and with his hands filled with the snakes, each one starts running down the trail off the mesa onto the plains as shown on the reverse side of the medal and figuratively deposits the snakes again in their underground abodes.

Obverse of SOM#3 by Hermon MacNeil (collection of Dan Leininger, webmaster)

Obverse of SOM#3 by Hermon MacNeil (collection of Dan Leininger, webmaster)

Behind the heads of the dancers on the obverse is shown the sand picture drawn by the Indians themselves with colored earths on the floor of their kiva or underground chamber, about which they performed sacred ceremonials previous to the public dance. On this side of the medal the attempt is also made to show the apparent basic reason for the use of the snake in this prayer for water. This reason or theory seems to have evolved from the similarity in action between the snake on the earth and the lightning in the sky. The Indian, however, has evolved the theory of a kind of cousinship through these angular moving reptiles with the still more angular movement of the lightning to jar the rain clouds for rain, thus making their chief need their strongest prayer. Curiously enough, although there had been no sign of rain for weeks, the day following the remarkable ceremony, a little cloud appeared in the sky and the next day it rained copiously.” 

[ SOURCE: Society of Medalists documentation accompanying the medals; reproduced at “Medals4Trade” ]

1931 "Moqui Rain Dance" (reverse) SOM #3 ~ Dan Leininger, webmaster

1931 “Moqui Rain Dance” (Obverse) SOM #3 ~ Dan Leininger, webmaster

Hermon MacNeil’s  interest in Native American culture began in (of all places) Chicago.  Before he ever traveled to the Southwest in 1895 to visit the Hopi (Moqui), and Navajo people, Native culture visited him in Chicago.

"Primitive Chant to the Great Spirit" photo of plaster model from MacNeil's Studio. (Credit: Photo Archives Smithsonian American Art Museum)

The live Native model for “The Primitive Chant” (at left) was a Sioux warrior by the name of Black Pipe.    Hermon first saw Black Pipe in the ‘Buffalo Bill’s Wild West Show’ at the Chicago World’s Fair of 1893. That winter, MacNeil found Black Pipe cold and desolate on the sidewalks of Chicago. MacNeil said that he gave him food and work as a model and an assistant in MacNeil’s studio (shared with Charles F. Browne).

More than being a model called in to portray an idea of the sculptor, Black Pipe portrayed a Native ritual dance, an ecstatic religious experience. The full title “Primitive Chant to the Great Spirit,” implies a religious experience that the native was depicting.  Lorado Taft, in his criticisms below, seems to miss the probable point of how this image came to be.  This image is not MacNeil’s in the mind of the artist, rather it is in the ecstatic religious memory of the model, Black Pipe.  I wonder how Hermon MacNeil experienced this Sioux’s portrayal as the warrior was transported in an ecstatic dance offered to the Great Spirit. MacNeil said that Black Pipe worked for him for the next year and a half. The Sioux warrior is immortalized in this piece and in the facial portrait pictured below. (Both photos are part of the Smithsonian Achieveshttp://siris-juleyphoto.si.edu/ipac20/ipac.jsp?&profile=all&source=~!sijuleyphotos&uri=full=3100001~!128333~!0 )

 

MacNeil's bronze of Blackpipe, a Sioux warrior he befriended in 1893 (source Smithsonian Archives)

The urging and support of Edward Everett Ayers led MacNeil and two companions, Hamlin Garland and Charles F. Browne, to travel to the southwestern territories (four-corners of New Mexico, Colorado, Arizona, Utah) in the summer of 1895.  Their goals were to witness the vanishing images of the Native people,  of the Southwest.

MacNeil made plaster models of native images and events and shipped them back to Chicago for later inspiration.   Many of the sculptures that he made in Rome to fulfill the Rinehart Scholarship requirements were based on these early studies from the Southwest. These would include the ‘Moqui Runner’, and the ‘Sun Vow’.  Returning to these themes three decades later, he crafted the Society of Medalists Issue #3 in 1931, after the “Moqui Runner” and the “Hopi Prayer for Rain.” His 106 foot long bas relief frieze on the North side of the Missouri Capitol contains a section that seems to be the basis for the SOM #3 Issue of 1931 called “Hopi Prayer for Rain.”

Lorado Taft ‘imagined’ MacNeil’s ‘days’ in Rome in very ‘idealistic’ terms.  He suggested that the Reinhart Rome Scholarship must have given MacNeil an ideal time for focused ‘days’ of study:

“Four years of them with three hundred and sixty-five days in each year! To live in the Villa dell’ Aurora, to work upon subjects of one’s own choice, with no care and all expenses paid — what better could an artist ask for.? The only requirements made by the trustees were “satisfying evidences of industry,” to be attested in the form of “a  life-size figure at the end of the second year, a relief containing two life-size figures before the close of the third year, and during the fourth year a life-size group of two or more figures in the round.” [Lorado Taft, The History of American Sculpture, 1903, p. 439].

In his, THE HISTORY OF AMERICAN SCULPTURE, published in 1903, Taft critiques several of MacNeils sculptures in very flattering terms.  He praises the ‘technical quality’ of this piece while questioning the artist choice of a dancer playing his armpit as a musical instrument.  His exact words are offered in the passage below:

The next figure, ” A Primitive Chant,” possesses every technical quality of good sculpture. While the idea of an Indian making strange noises by blowing or shouting in the crook of his arm awakens no responsive thrill of imagination, this is nevertheless a powerful work. Its triumph is all the more marked since our surrender is, in a sense, an unwilling one. We are not prejudiced in favor of this tuneful creature, who, unlike a Hector or an Achilles, brings to his aid no emotional backing of poetry, no prestige of three thousand years’ success upon the ” boards.” This is sculpture pure and simple, — beauty of form, strength with refinement of modelling, compactness, breadth. The figure kneels, taking hold of the earth with powerful limbs ; the hands are clasped, the right elbow tight across the body, the arm raised at a right angle, concealing largely the savage face. The expanded chest and powerful back have fascinated the sculptor ; he has shaped them superbly.

Larado Taft's words describe this kneeling pose of "The Primitive Chant." The 'upright-dancing-warrior' is a more commonly seen version of MacNeil's work.

That these are adequate reasons for the statue one is hardly prepared to say, though such beauty of modelling is almost a sufficient excuse. The trouble is that with nine persons out of ten, nay, with ninety-nine out of the hundred, beautiful modelling is not interesting nor a raison d’etre ; and with the more thoughtful the very fact of such costly elaboration enhances the perplexity. Why so much labor and so much time expended upon a thing unbeautiful in idea? With all its masterful workmanship, and even its sculptural pose, it remains but an illustration of an incident, a custom; curious it may be, and even to some persons moderately interesting, but possessing for none a deep significance. Where does the emotion come in — the poetic thrill which we are told is fundamental in the genesis of every great work of art, and which in turn a truly great work must convey in some fashion and some degree to men and women of taste? We are obliged to admit that in the lack of any supplementary hint at a deeper import — as of mourning or of love-making, of solitude, or of worship — the only response awakened by the action of the figure is a rather unsympathetic query regarding the nature of the “music” produced in so outlandish a fashion!” (pp. 437-439.)

According to the Smithsonian Institute:

Hermon A. MacNeil
A Primitive Chant to the Great Spirit
modeled by 1901
bronze
24 1/2 x 6 1/8 x 8 3/4 in.
Smithsonian American Art Museum,

Gift of Maurice Kawashima in honor of Dr. Richard Wunder

http://americanart.si.edu/exhibitions/online/t2go/1lw/index-noframe.html?/exhibitions/online/t2go/1lw/1996.27.html

MacNeil has interpreted an Indian dancer as he chants into the crook of his upraised arm. The model for this sculpture was a Sioux Indian named Black Pipe, who was part of Buffalo Bill’s Wild West Show at the 1893 World’s Columbian Exposition in Chicago. Black Pipe remained in Chicago after the fair closed and became a regular model and studio assistant for MacNeil. The artist maintained a studio in Chicago, but traveled many times to the Southwest to observe Indian rituals, costumes, crafts, and ceremonies firsthand. In Primitive Chant, MacNeil captures the physical beauty and grace of the Native American, which he compared to that of Greek warriors.

 

"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 THREEI 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 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8 Part 9Part 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. https://hermonatkinsmacneil.com/2011/03/26/1904-louisiana-purchase-exposition-saint-louis-worlds-fair/

Sculptures that Hermon A. MacNeil’s exhibited for the 1901 Pan-American Exposition in Buffalo, New York.

The above works that Hermon A. MacNeil’s exhibited in Buffalo for the 1901 Pan-American Exposition are listed in:

“The Catalogue of the Exhibition of Fine Arts.” Pan-American Exposition: Buffalo, 1901. (p. 45-46; p. 59).

pp. 45-4. H. A. MacNeil:

#1613. The Sun Vow – Silver Medal, Paris Exposition, 1900.

#1614. The Moqui Runner – Silver Medal, Paris Exposition, 1900 (Lent by E. E. Ayer, Esq)

#1615. Bust — Agnese

#1616. Bust – [Lent by C. F. Browne, Esq.]

p. 59.

MacNeil, H. A., 145 West 55th Street, New York, N. Y. (II*) 1613-1616

*II – indicates MacNeil exhibited in “Group II – Sculpture, including medals and cameos” p. 49.

Some of these people mentioned in that exhibition record were to be long term colleagues, friends and patrons of MacNeil’s art and career.

Charles Francis Browne was a painter and friend who accompanied Hermon MacNeil and author, Hamlin Garland, to the southwest in the summer of 1895. They wanted to gain direct experience of American Indians to inform their art. What the trio found reflected in their respective painting, sculpture and writing.

MacNeil’s subsequent sculptures of Native Americans after that summer of 1895 continued a cultural focus that began with his friendship and sculpting of Black Pipe, the Sioux warrior. He first met Black Pipe at the Buffalo Bill Wild West Show at the Chicago World’s Fair in 1893.  The Sioux modeled for MacNeil and later worked in his studio for over a year.

Edward Everett Ayers was an art patron to both MacNeil and Browne.  He had been a Civil War Calvary officer stationed in the southwestern United States.  He became a lumberman who made a fortune selling railroad ties and telephone poles. He urged MacNeil to travel to see the vanishing West of the American Indian.  He became an arts benefactor whose art collections are now housed by the Art Institute of Chicago, as well as, the Newberry Library.

All the above is but a small part of the history woven into this simple Exhibition catalogue entry from 1901.  More later on Macneil’s mysterious “Agnese.”

Related Images:

Hermon Atkins MacNeil's "The Moqui Runner" (The Moqui Prayer for Rain -- The Returning of the Snakes) 1896, cast 1897.

The year was 1895.  Hermon MacNeil, along with two friends (painter, Charles Francis Browne, and author, Hamlin Garland), spent the summer traveling and living in the Territories of New Mexico and Arizona.  There they sought direct experience among the Indians that would give birth in them to a new, truly American art.  “The Indian caught my fancy as it had with many young sculptors,” wrote H.A. MacNeil in his “Autobiographical Sketch.” They became eye-witnesses to the life and culture of the Hopi (formerly known as Moki, and Moqui) people.

“We found Indians a plenty and perhaps because I was keenly interested in them I was in heaven and I flared to a high pitch, working from sunrise to dark,” wrote the twenty-nine year old MacNeil. Like many ethnologists of that period, the Snake Dance deeply impacted his cultural awareness and artistic curiosity.

The Snake Dance ritual involved fifty or more men and lasted for ten days.  As a part of the ceremony the priests would dance with live snakes in their months (presumably making the reptiles the bearers of the prayers of the priests).   The climax of the ceremony involved a four mile run returning the snakes (now endued with prayers) to their natural home.

The long black locks streaming in the wind follow the runners path back to nature and the ancestors.

“There was something superb in all this,” wrote Garland in his “Among the Moki.” Something natural, strong, and wholesome.” Garland described the Runners, with their black hair flowing down over their shoulders, “They ran with the chest thrown out and with light step, which only three hundred years of daily climbing to and fro on this cliff could give.  It was like seeing one of the old Greek games.” (Among the Moki).

MacNeil never forgot the indelible visions of these moments in his artist’s eye. He writes, “Every artist has at various times strong impressions that he longs to express. The sensation received by me from this dance was without doubt the deepest I had received. There was an abandon, fury, and sincerity.”

One reviewer of MacNeil’s work from this period captures their energy and abandon by saying:

MacNeil captures the energy and fury of the ceremonial "Return of the Snakes" in the grip and gaze of the runner.

“In sculpture those fresh, spirited Indians, by H. A. MacNeil, are so strong and full of vigor that they command at once one’s admiration and respect. The strongly developed and “straight-as-an-arrow style”surely marks the Indian as nature’s nobleman.  MacNeil knows just how to bring out their striking characteristics, and even on a small scale the work is grandly conceived.” (Sculptors at the American Art Exhibition.” Arts for America 4 (November 1895) p. 150.)

Snake Dance – For a short history see:http://www.brownielocks.com/snakedance.html

HISTORY NOTE: MacNeil’s experience with the Hopi follows less than five years after tragic deaths of December 1890 — namely, Wounded Knee Massacre — The killing of Chief Sitting Bull and the murder of Chief Big Foot.  For more details of this history view”

http://www.lastoftheindependents.com/wounded.htm and

Wikipedia http://en.wikipedia.org/wiki/Wounded_Knee_Massacre

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WHAT YOU FIND HERE.

Nearby or far away, there is no ONE place to go and appreciate this wide range of art pieces. Located in cities from east to west coast, found indoors and out, public and hidden, these creations point us toward the history and values in which our lives as Americans have taken root.

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WE DESIRE YOUR DIGITAL PHOTOS – Suggestions

1. Take digital photos of the entire work from several angles, including the surroundings.
2. Take close up photos of details that capture your imagination.
3. Look for MacNeil’s signature, often on bronze works. Photograph it too! See examples above.
4. Please, include a photo of yourself and/or those with you standing beside the work.
5. Add your comments or a blog of your adventure. It adds personal interest for viewers.
6. Send photos to HAMacNeil@gmail.com Contact me there with any questions. ~~ Webmaster