Daniel P. Murphy, Ph.D., in a piece entitled, “George Rogers Clark and the West” tells the story this way: (http://www.netplaces.com/american-revolution/the-war-on-the-frontier/george-rogers-clark-and-the-west.htm)

 MacNeil Month  #4  —  February 22, 2021 

JO Davidson

Political Sculptor 

Hermon MacNeil

Monument Maker

1930 – 1944

 JO DAVIDSON   ~ ~ “Political Sculptor” ~ ~

After the World War, requests for portrait busts occupied much of Jo Davidson’s  time sculpting.  His reputation for as a sculptor of good works and fast results traveled quicker than even his own frequent migrations across the Atlantic. He described his approach to portraits as “simple.”

“I never had them pose but just talked about everything in the world.  Sculpture, I felt, was another language altogether and had nothing to do with words.  As soon as I got to work, I felt this other language growing between myself and the person I was “busting.”  I felt it in my hands.  Sometimes the people talked as if I was their confessor.  As they talked, I got an immediate insight into the sitters.”  [Between … p86-87.]

That approach used those same talented fingers that twenty years earlier touched clay in a barrel at Yale sculpture lab.  Those fingers were still touching the clay of Jo Davidson’s future.  Rather than hindering drive and ambition, the War years seemed to focus Jo more sharply. ¹  

During the decades of the twenties, thirties, and forties “the powerful, the wealthy, and the talented were literally at Davidson’s fingertips.  During these three decades he completed hundreds of portraits as well as a numerous figural works.”

 DOUBLEDAY PORTRAITS  

In 1929 Jo had made a bust of George Doran of Doubleday, Doran and Company. Afterward George proposed an idea that Jo make busts of the company’s best selling authors in America and England.  The proposal and opportunities delighted Jo Davidson.

Jo’s self-appointed role as a “plastic historian” of his era contained his own mental list of potential subjects.  Many of Doran’s authors were already on Jo’s informal list.  Many were already Jo’s personal friends.  Later Doran sent a letter with a list of a dozen possible subjects.  Doran hosted a series of luncheons to gather the authors and initiate the project. 

Aldous Huxley by Jo Davidson, 1930

Through 1929-1930, Davidson modeled in Paris, London and New York to complete the assignment.  Eventually he completed portraits of James Boyce, Hugh Walpole, Frank Swinnerton, Edgar Wallace, Sir Arthur Conan Doyle, Aldous Huxley, Booth Tarkington, Robinson Jeffers, Sir James Barrie, John Galsworthy, Georg Brandes, and Christopher Morley.  He made a bust of Rudyard Kippling from sketches made at a group luncheon, a product that delighted Doran. 

John Galsworthy by Jo Davidson

In June 1931, Jo Davidson opened a show of the results of the Doran project as “Portrait Busts of Some Contemporary Men of Letters” at Knoedler Galleries on Bond Street in New York City.  Jo added his portraits of George Bernard Shaw, James M. Barrie, and John Galsworthy to the show. The event was a benefit for the Royal Literary Fund.  Posters flooded the underground with busts of Shaw, Maugham, Lawrence and others. 

One reviewer wrote: “I never have never read a book of criticism that so subtly and completely inventoried the mind of the age as this room of Jo Davidson’s. It is a superb exercise of lively, sensitive, well-informed intelligence,”   All in all, the project and show assembled this “plastic historian’s” opus of English and American authors who produced many hundreds of novels of thought and imagination of the era.    [Between …, p241-264.]

1933 ~ FRANKLIN D. ROOSEVELT: That Man in the White House  

CARTOON: FDR, 1932.  ‘Just leave ’em, Herb. I’ll do it all after March 4.’ Cartoon, 1932, by Clifford Berryman.

Franklin Delano Roosevelt took office as the 32nd President of the United States. The country was reeling in the third year of the Great Depression.   after the Stock Market Crash of 1929. Both the ensuing action and inaction of President Hoover continued to fuel the economic crisis and decline.  In the next four years, Roosevelt would begin rolling out massive economic relief legislation such as the Emergency Banking Relief Act, the Agricultural Adjustment Act, the National Recovery Administration and the Social Security Act.

At the suggestion of Sara Delano Roosevelt, the President’s mother, Jo Davidson went to Washington, D.C. to meet the new President after he took office on March 4th.  On entering the White House, he could hear barking dogs and voices of children in the distance.  The atmosphere impressed him as a friendly, alive, gay and human.  

The President was rolled in and greeted Jo with a broad, cheerful smile.  Then shaking Jo’s hand said: 

FDR:  “I’ve just had a meeting with a delegation of plasterers who want to have the plasterers and their assistants share in the profits.  That will fix your business.”

JoD:  “I am not a plasterer, … I am a chiseler!”  

Thus cementing our friendship, we made arrangements to get to work.  [Between …, p275.]

That evening Jo stayed at the White House for a conversational dinner with 14 guests.  Afterward he remained alone with the President and reviewed an album of busts Jo had made.  The President asked innumerable questions about Jo’s sitters many of whom he knew.  Their lively exchange continued past midnight.

The next day Jo sculpted the President sitting at his desk.  People came and went from the office.  Jo rolled his stand around to observe from all angles. The President put visitors at ease with jovial comments and winning smile.  He continued to work that evening and the next morning even as he sat in bed looking over papers.  Jo observed,

“President Roosevelt won me completely with his charm, his beautiful voice and his freedom from constraint.  He had unshakable faith in man.  All those projects — NRA, CWA, PWA, — all stemmed from his belief that if you give man a chance, he will not let you down.”

Jo outside the White House with his newest friend.

Jo also observed that the President did not forget about the Artists in his relief bills and WPA projects.  He admired the Presidents sense of direction.  Being a sailor he knew that traveling in a straight line was seldom possible.  Keeping a clear objective while tacking on and off course would still get you to the goal. 

  FROM ‘BUST’ TO ICON    Jo would go on to make numerous busts of Roosevelt, big, small, some carved in stone.  I observed a casting of this bronze bust bearing the Jo Davidson signature on the back while visiting the Churchill Museum at Fulton College in Fulton, Missouri several summers ago.  Churchill made his famous “Iron Curtain” speech there after Roosevelt’s death and the victory of World War II.   How thought it fitting that the curators of the Churchill Museum  choose Jo Davidson’s bust of FDR to portray that “Friendship that Saved the World.” 

Churchill and his family were also White House guests, soaking up the warmth and charm of the “sitting” President as was Jo when he sculpted.  Perhaps that warmth explains the thousands of souvenir miniatures imitating the original that are still sold in the marketplace ninety years later.  Or maybe as one critic phrased it, “His ‘President Roosevelt’ looks the character that the whole world has readily acknowledged.”

 1934 ~ LOSS OF LOVE ~ LOSS OF DIRECTION ~ 

One day Jo walked by a paint shop and saw a miniature water color set in the window bought it.  Less than two inches square he admired it. Compact and complete, it went in his pocket and never left him.  

Yvonne had been in poor health for several years, but was anxious to visit California to see their old friends Lincoln Steffens and his wife, Ella Winter.  The couples had been constant companions in their early years in Paris visiting Bistros and discovering “special foods in the French manner.”  They boarded a train heading cross-country to California. On the train Jo sketch and water-colored his way West.

Arriving in San Francisco they were besieged by reporters: Jo was the sculptor of the President and Yvonne was a great dress designer from Paris.  They visited old haunts and old friends staying with the Steffens.  But Yvonne felt worse. A doctor was called and she was put on rest.  She rallied some, visited old friends, and they returned to New York.  Back home Yvonne Davidson suffered a stroke and died two days later.

New York Daily News. Sunday, May 13, 1934.

The loss of his love of twenty-five years devastated Jo, and he began a period of “Restless Days” as he titled that chapter in his autobiography.  Those “Days” would last for three years.  He left for Paris but could not focus to work.  Life felt empty and cold.  He returned to his Bécheron studio, but his heart was not in it.  Returning to Paris he sought to settle down with his grown sons but their lives were young and Jo’s was old.  Finally he returned to New York but without Yvonne, he found it just as lonely as Paris and Bécheron.  He felt deep loss of love and direction.  

“During these years my life was without an anchor.  I kept on traveling — London, New York, Washington, Paris, California, but I was too restless to stay anywhere for very long.  I was still looking for some project in which I could completely forget myself. ¹ 

A quarter of a century earlier in his life, Jo was a wanderer — looking, searching, roving until he found “the sculptor within.”  But now with the loss of love, the loss of companionship, he struggled to find direction — a reason to work, a passion to give his hands to, a project to consume his active craving for carving art. 

 MORE DISAPPOINTMENTS  He received a letter from a friend asking if he would consider doing a statue of Thomas Paine to be placed in Paris.  Paine along with Walt Whitman were two early heroes in Jo’s personal pantheon.  After hopes and excitement from friends, he was flattened to learn that the committee his friend was on had already awarded the commission to Gutzum Borglum.  Dejected, he put his sketch of Thomas Paine in his studio drawer. 

To this regret was added a further blow.  Jo returned to Paris only to learn that his beloved friend, Lincoln Steffens, had died.  Steffens was a listener.  Jo didn’t have many.  For nearly two decades he valued that understanding ear.  This dear friend’s passing was a deep loss and only compounded the Restless Days with another layer of sorrow.

 1935 ~ A NATIONAL LOSS  ~  WILL ROGERS DIES 

On August 15, 1935, American humorist and “Oklahoma’s Favorite Son,” Will Rogers died with aviator Wiley Post  when their small plane crashed after take-off in Point Borrow, Alaska. The pair were on an around-the-globe flight.  In 1931 Post had become the first man to fly solo round-the-world.

Will Rogers had become an American Icon.  An actor on stage and films, a vaudeville performer, cowboy, humorist, newspaper columnist, and social commentator; Will  was “a Cherokee citizen born in the Cherokee Nation, Indian Territory.”  The warm humor of this home-spun figure won the hearts of Americans long before his sudden death at the height of the Great Depression.  His passing was a shocking sorrow in very trying times for the American public.

Jo Davidson had wanted to do a bust of Rogers but never had.  Betty, Will’s wife, had often urged him to pose for Jo.  Will would always decline jokingly calling Jo “old that headhunter” to the amusement of Jo and all nearby.  

Weeks later dining in New York with Sidney Kent of Fox Films, Jo shared his regret and the desire to immortalize Will Rogers.  Kent concurred, and agreed to lend Jo some of Will’s old movies to do the modeling work.   Jo received a letter from E. W. Marland, his old oil man friend from Ponca City, Oklahoma and the Pioneer Woman commission.  Marland was now Governor Marland.  Jo went of Oklahoma City, visited with the Governor and signed a contract to make the Will Rogers statue.

Returning to his Paris Studio the Fox Films crew set up a big projector and large screen and began running continuous movies of Will Rogers in the front studio while Jo worked in the back.  Friends gathered in this new Will Rogers “studio” for a week as Jo “worked, talked, and lived nothing but Will Rogers.  The films brought back so many memories.”  [Between …, p. 298.]

“Betty Rogers sent Wills clothes, his shirt, his tie and his shoes. … Then I had the model put on Will’s clothes.  They still contained his personality.  Clothes have a way of being impersonal until they are worn; then they become a part of the person who wore them — like a glove before and after wearing. [Between …, pp. 299-300.]

– Will Rogers – Keeping an eye on Congress… since June 6, 1939.

“Before his death, the state of Oklahoma commissioned a statue of Rogers, to be displayed as one of the two it has in the National Statuary Hall Collection of the United States Capitol. Rogers agreed on the condition that his image would be placed facing the House Chamber, supposedly so he could “keep an eye on Congress”. Of the statues in this part of the Capitol, the Rogers sculpture is the only one facing the Chamber entrance—a stakeout location for camera crews looking to catch House members during and after voting. It is also a common background for reporters and lawmakers, with staff often directing the media to be at the “Will Rogers stakeout” at a certain time. According to some Capitol guides, each US president rubs the left shoe of the Rogers statue for good luck before entering the House Chamber to give the State of the Union address.” ^[34]   [Source: https://en.wikipedia.org/wiki/Will_Rogers]

Claremore, Oklahoma — Will Rogers Museum – centerpiece

When the second statue was dedicated in the rotunda of the Will Rogers Museum in Claremont, Oklahoma. 20,000 people from all over came for the unveiling — Indians, cowboys, and other friends of Will’s.  A radio program was broadcast nation-wide and President Roosevelt spoke from Hyde Park.  He told the nation of listeners:

“There was something infectious about his humor.  His appeal went straight to the heart of the nation.  Above all things, in a time grown too solemn and sober, he brought his countrymen back to a sense of proportion “

When Will’s daughter Mary pulled the string unveiling the eight and a half foot statue, “there was a moment of hushed awe.  The light fell on the statue just right.  Mrs. Rogers, overcome, broke down and wept.”  [Between …, p. 300.] 

DC Capitol Assault? by “Trump-it-eers!” ~~ What Would Will Rogers Say about January 6, 2021 ?

 1939 ~ STARTING AGAIN ~ Walt Whitman walks the Woods 

One day Averell Harriman visited Jo in his Paris studio and admired his sketch for a Walt Whitman statue.  When Jo lamented that the NY Park Commission refused to place it in three different parks, Averell suggested a home for it in Bear Mountain Park.  He invited Jo to his home to view the park for possible sites.

The park had been part of the Harriman property in Arden, NY.  His mother had designated 10,000 acres adjoining Bear Mountain as a public park.  Averell wanted a statue of Whitman to commemorate his mother’s gift.  Jo’s idea of Whitman fit the family’s plans for a commemorative.

Jo returned to New York in the autumn visiting Harriman for the Thanksgiving holidays.  He had immersed himself in Walt Whitman and found that the poet had actually roamed through those same hills.  Jo tramped along the wooded Appalachian Trail finding a long graceful rock formation large enough to support a bronze statue.  He determined with enlarged photostats of his sketch that an eight and a half foot statue would command the rock face as a convincing figure to be found walking in the woods.

Jo Davidson worked off and on for several years on the Walt Whitman figure.  In 1939 it was cast and displayed at the New York World’s Fair before finding a final dedication and home on Bear Mountain.

 RECASTING:  Jo had had so many disappointments that never expected the statue to emerge beyond his sketch. But it did!  Matter of fact, in 1957, six years after Jo Davidson’s death, the Fairmont Park Art Association of Philadelphia placed another casting of the statue on Broad Street near the entrance to the Walt Whitman Bridge.  

Davidson described his satisfaction in this period of his life in these words:

“THERE IS NO GREATER HAPPINESS THAN WORKING ON SOMETHING THAT ONE VERY MUCH WANTS  TO DO.”

 THE ‘WORK OF ART’ ~ the RECOVERING THE PASSION

The passion of Jo Davidson’s life was  sculpting.   One day when he and his friend six-foot-three friend, Charlie, (Charles W. Ervin) with a “booming voice” were in the Jo’s studio having lunch:

“I got an itch to do a bust of that booming voice.  The bust seemed to do itself I think that André Gide’s definition of a work of art applied in this case: “A collaboration between the subconscious, which is God’s part, and the artist; and the less the artist interferes, the greater the work of art.”  This has happened to me several times in my life as a sculptor.  … if I can hear the sitter’s voice, I know that the bust is good.  

Jo had a very spacious studio in the Beaux Arts building.  He he was happy there especially as people could and would drop by; he needed people around.  It was a busy studio where Jo completed one sitting with another.  Among others he did:

David Sarnoff – President of National Broadcasting Company who championed the development of broadcast communications in radio and television.

Edward MacCarten – Sculptor and Jo’s old friend from Art Students League and another of Hermon MacNeil’s student who gave him the following advise:“One day he said, “Jo, here’s an idea. When you come here tomorrow go to work as if this is your last day on earth and you have to finish your statue before you die.” This struck home. The next day I went to work with new energy.  I didn’t die that night, nor did I finish the “David” that day. But as I look back, MacCarten’s advise was one of the greatest contributions that I ever received from a fellow artist.”

They met up again when Jo came to Paris to study Beaux Arts with  no Scholarship, no support, and $40 in his pocket during Jo’s adventuring and searching years. 

Sinclair Lewis – American writer and playwright.  First writer from the United States  to receive the Nobel Prize in Literature, 

A BRIEF REPRISE of old love ~~ One day into that busy studio walked another former sculptor from days at the Art Student League:

“When I finished (Sinclair) Lewis’ bust, Florence Lucius was in my studio and we were talking about portraiture.  She reminded me of John Sargent’s definition of a portrait, ‘a picture of somebody with something the matter with the mouth.’  Some ten minutes later Dorothy Thompson came in to look at her husband’s bust.  She gave one glance, turned to me and said, “It’s very good but there is something the matter with the mouth.'”   [Between …, p303.]

A passing moment of shared irony ?  …

with a  briefly re-discovered old friend ?  …

but MAYBE it was more…  ?   ?    ?

MORE PLASTIC HISTORY – THE SPANISH CIVIL WAR   In the summer and fall of 1938 modeled portraits of Spanish Loyalists of the Civil War.  The results were exhibited in the Arden Gallery in New York City and published as: Jo Davidson: Spanish Portraits. New York: The Georgian Press, Inc., 1938.

~ ~ ~ ~ ~ ~ ~ ~ ~

 FLORENCE “Flossie” LUCIUS  ~ OLD LOVE REKINDLES 

After many years of rumblings, World War II began 1939.   Jo turned over his farm and home in Bécheron to the Vichy government to house various attachés.  So in 1940 he returned to the United States.  Jo states that he “was still at loose ends, restless and haunted by a vague sense of dissatisfaction.  There was no real reason for this complicated business of living”  Jo’s passion for sculpting was interrupted.

Into Jo Davidson’s global and personal malaise walked an old flame he had fallen hard for three decades earlier — “Flossie” Florence Lucius. 

“Then one day, I found my old love of the Art Students League days, Florence Lucius.  I hadn’t seen her for several years.  … With Flossie around, life began to take on a new meaning and the studio began bubbling with life and buzzing with people.

Jo and Flossie visited friends in Bucks County, Pennsylvania and while driving around Jo saw a farm for sale that reminded him of Bécheron.  Jo asked his architect friend Burral Hoffman to look it over as a possible home and studio.  

HEART CRISIS !   Although Jo had rediscovered the love of his young heart, at fifty-seven years his own heart was showing signs of hard-working wear.  Out at dinner with friends “… I felt an excruciating pain in my left arm, and the next day, I was in the hospital with a heart attack.  I spent six weeks in the hospital.”

Burrell Hoffman came to see him with the proposal of sketches showing how the barn of the Bucks County farm could be converted into a wonderful studio space.  Jo was delighted with the plans and future studio, his American Bécheron.  At discharge the doctor ordered complete rest and no worries so Jo and Florence went to the Virgin Islands staying for two blissful months. Until one evening a Jimmy Sheean, (a fresh-faced and insolent radio announcer who brought home the war to American listeners) began “reporting the bombing of a Red Cross train in France by the Germans.  Other voices told of roads filled with refugees.  In the peace and quiet of this beautiful night in St. Thomas the news was appalling.  I packed my bags and returned to New York.”

The words “roads filled with refugees” had to trigger Jo’s memories of similar scenes he witnessed in 1914 while covering WW I first-hand from Belgium.  He went from “refugee stories” to his new American Bécheron in Bucks County.  The new studio and home now renamed “Stone Court Farm” was now ready for the new couple.

SCULPTING AGAIN ~ Roosevelt’s 3rd

Characteristically, Jo very quickly got his first sculpting job.  In a phone call he was asked to do the third inaugural medal for President Roosevelt  This was a rush job with just days to complete.   Sent a photograph to work from, Jo became frustrated.  Jo sculpted from life not antique photographs.  He just couldn’t properly do a bas-relief this way.  So, he made his own phone call, flew to Washington and the 32nd President posed for two sittings.  Rush mission accomplished!

SOUTH AMERICAN JOURNEY ~ Good Will Ambassador

Florence Lucius Davidson

On evening visiting with friends Jo met John Abbott who worked for Nelson Rockefeller, Coordinator of Inter-American Affairs.   The agency’s mission was to promote inter-American cooperation (Pan-Americanism) especially in commercial, cultural and economic areas thus strengthening U. S. ties with South American Nations.  The idea was conceived that night for Jo to travel as a Good Will Ambassador making busts of Presidents of South American Republics. The idea quickly became an official mission to create busts of ten presidents.

Needing an Assistant, Jo turned to Flossie, a sculptor herself.  Jo also wanted her to marry him which they did after arriving in Venezuela.  They had known each other since days as art students.  It had been puppy love back then now both those old feelings came right back and their need for each other at this point in life’s journey brought a new sense of happiness that they both needed and deserved.  So now Florence Lucius became Florence Lucius Davidson, and Jo added another portrait bust to his growing collection.  

On the six month mission to South America, Jo had to travel by flying. “From country to country — Brazil, Paraguay, Uruguay, Peru, Ecuador, Columbia, Bolivia, and others — he flew, modeling the presidents he met in clay, casting them in bronze on his return to the United States.  There, they were exhibited in the National Gallery of Arts in Washington.  Later, they were given to the various countries as a gift from the United States.” ^5.

Writing to Flossie about Jo, Van Wyck Brooks once stated, “He’s an entire United Nations in his own way.”  On this Good Will Ambassador tour that could not have been more true.

Back home again.  There soon followed portrait busts of Henry Wallace, Vice President of the United States; Ernie Pyle, reporter and war correspondent; Madame Chiang Kai-Shek, and Van Wyck Brooks, biographer, literary critic, and historian.

 THIRTY YEARS AND HUNDREDS OF SCULPTURES 

In the thirty years (1920-1949) Jo Davidson would go on to travel the world making hundreds of portrait busts and figures.  Some on commission, but many just because he was asked or he just wanted to.  Looking around his studio one day, He said he realized that he was the World’s Largest Collector of “Jo Davidson” busts.

Jo Davidson with Busts of 8 Presidents that he completed.

Jo continued his constant pace of sittings for portrait bust —  just a few of those “sitters” included:

Clarence Darrow 1929, Charlie Chaplin 1925, Lincoln Steffens 1920, Robert M. La Follette 1923, W. Averell Harriman 1935, Franklin Roosevelt 1933, 1951, Fiorello LaGuardia (1934), Andrew Mellon (1927), Andrew Furuseth (1929) Mother Jones (1922), Carl Sandburg 1931, Ignace Paderewski (1920), Will Rogers (1935-38), Mahatma Gandhi (1931), Albert Einstein (1934). Arthur Conan Doyle, Israel Zangwill, Albert Einstein 1937, Emma Goldman, Frank Harris, Hellen Keller 1942, John D. Rockefeller 1924, Dolores Ibárruri, Franklin Roosevelt 1934, 1951, Henry A. Wallace, Walt Whitman, , Dwight D. Eisenhower 1948,  H. G. Wells, Gertrude Stein 1923, Josip Tito, Carl Sandburg 1939, Edward Willis Scripps 1922, George Bernard Shaw 1931,  Mahatma Gandhi, James Joyce, Rudyard Kipling, D. H. Lawrence, Henry Luce,  James Barrie, Joseph Conrad, Charles G. Dawes, Will Rogers 1935-38, Anatole France, André Gide, Robinson Jeffers 1930, John Marin and Ida Rubinstein.  ¹

That tactile process of wordless communication accelerated “the portrait sculptor within.” And his fame kept preceding him as he assembled a PLASTIC HISTORY OF HIS TIMES

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Jo Davidson as AMATEUR POLITICIAN 

~ ROOTING FOR ROOSEVELT ~

Jo Davidson ~ Political Sculptor

TIME Sept. 9, 1946. Jo Davidson Featured

TIME magazine put Jo Davidson’s face on the cover in September, 1946.  The cover lampoon and story inside form a satirical and rather pejorative piece about Jo’s later activities in the political spotlight after FDR’s death in April 1945. 

The cover featured a cartoon figure speaking words “Vote For…” into a microphone.  The figure was a collage of a palette board face, a violin torso, paint brush legs, sculptors tools arms, standing on three books and a soap-box. 

Jo was famous, loved people, circulated in an extensive network of the wealthy and famous including Hollywood. Davidson had become a political activist and was reluctantly elected chairman of the Independent Citizens Committee of Artists, Scientists, and Professionals (ICCASP), a group that supported the policies of President Franklin Roosevelt but now FDR was gone.

Originally formed as the Independent Voters Committee of the Arts and Sciences for Roosevelt, its organizational meeting was held in Jo’s studio (the only room big enough to hold a crowd).  Jo was elected chairman because he was the host that everybody knew.  This progressive collage included Actors, Musicians, Entertainers, Authors, Poets, Artists, Painters, Political activists, Scientists.  Their mission was to illuminate the 1944 re-election campaign of President Roosevelt by shining the star-power this distinguished collection of public faces and names behind an ongoing Roosevelt agenda.

President Franklin D. Roosevelt (L), talking to the Independent Voters Committee (L to R) Van Wyck Brooks, Hanna Dornen, Jo Davidson, Jan Jiepung, Joseph Cotton, Dorothy Gish, Dir. Harlow Shapely and James Proctor. (Photo by George Skadding/The LIFE Picture Collection via Getty Images)

Jo reports that when the group went to call on the President, he jokingly asked “Jo, have they called you a Communist yet?” They hadn’t, but Jo didn’t have long to wait. The TIME story suggests that the group had picked up a few Communists, like the fleas on a dog.  Jo Davidson suggested to the reporter that “its Communists have no more to do with its course that fleas do with a dog’s.”   To the question of Communist influence, Jo Davidson replied: “Have you stopped beating your wife.”

After Roosevelt’s death and President Harry Truman succeeding him into the office, the group had to refocus in Post World War II America.  An opponent of the Cold War policies of Harry S. Truman, he joined the Progressive Citizens of America (PCA). Other members included Rexford Tugwell, Paul Robeson, W.E.B. Du Bois, Arthur Miller, Dashiell Hammett, Hellen Keller, Thomas Mann, Aaron Copland, Claude Pepper, Eugene O’Neill, Glen H. Taylor, John Abt, Edna Ferber, Thornton Wilder, Carl Van Doren, Fredric March and Gene Kelly.

Davidson supported Henry A. Wallace in the 1948 Presidential Election. Wallace’s running-mate was Glen H. Taylor, the left-wing senator for Idaho. A group of conservatives, including Henry Luce, Clare Booth Luce, Adolf Berle, Lawrence Spivak and Hans von Kaltenborn, sent a cable to Ernest Bevin, the British foreign secretary, that the PCA were only “a small minority of Communists, fellow-travelers and what we call here totalitarian liberals.” Winston Churchill agreed and described Wallace and his followers as “crypto-Communists”.

   ~    ~    ~    ~    ~    ~    ~

“No one ever met Jo and then forgot him. Wherever he was, his vibrant personality pervaded. He was tremendously gifted for the work he did. He was intelligent, incisive, witty, a marvelous raconteur. His enthusiasm was endless. He hated everything mean or intolerant.”
– Harry Rosin –  Bucks County Sculptor and neighbor         https://bucksco.michenerartmuseum.org/artists/jo-davidson

   ~    ~    ~    ~    ~    ~

Jo Davidson Sculptures [partial list of hotlinks]:

SOURCES for Davidson material:

1. Spartacus Educational: Jo Davidson.   © John Simkin, May 2013.  FOUND AT: https://spartacus-educational.com/Ajo_davidson.htm
2. TIME, “Political Notes: Glamor Pusses.” VOL. XLVIII, No. 11, September 9, 1946. pp. 23-25.
3. Connor, Janis and Joel Rosenkranz, photographs by David Finn, Rediscoveries in American Sculpture: Studio Works, 1893 – 1939, University of Texas Press, Austin TX 1989.
4. Jo Davidson. Between Sittings: An Informal Autobiography of Jo Davidson, New York: Dial Press, 1951.
5. Lois Harris Kuhn. The World of Jo Davidson, New York: Farrar, Straus and Cudhay, 1958.  p. 153.

1.  HERMON ATKINS MACNEIL 
2. ~ ~ More Monuments ~ 1930 ~ 1940 ~ ~

1930 ~ “The Pilgrim Memorial” ~ Waterbury, CT

ABOUT THE PIONEER MEMORIAL

“The Harrub Pilgrim Memorial was carved out of French granite by Hermon Atkins MacNeil of New York. Charles Harrub, an engineer for the American Brass Company, donated the $100,000 needed for the project to honor his wife and the Pilgrims. Dedicated October 11, 1930. It is now located at the corner of Highland Avenue and Chase Parkway. (Photo by Daniel M. Lynch, Mattatuck Consulting, LLC.” 

This website of tells the history of settling Waterbury CT from 1657 to the American Revolution.  Descendants of early settlers give family genealogy and memorable stories. Source: OFFICIAL WEBSITE of the RIVER-HOPKINS and SAEMANN-NICKEL and Related Families

A second history blog of Waterbury offers additional photos and history of the memorial.  Here’s a photo from dedication day.

“Sculptor Hermon Atkins MacNeil was commissioned to create the monument. Based in New York City, MacNeil is remembered for having designed the 1917 quarter, as well as for a series of sculptures depicting Native Americans in classically heroic poses.

The Harrub Memorial was completed in 1930 and unveiled at a ceremony held on October 11, 1930. Although it is now located at the top of Chase Park, off Highland Avenue, the monument was originally placed at the bottom of the hill, facing Freight Street.”

1930 ~ Judge Thomas Burke Memorial

In Seattle, Washington the Memorial to Judge Thomas Burke exhibits MacNeil’s classic Beaux Arts design and allegorical figures.  Beneath the bronze bas relief of  Burke’s profile, the engraved stone pilaster  reads:  “Patriot, Jurist, Friend, Patron of Education, First of every movement for the advancement of the city and the state, Seattle’s foremost and best beloved Citizen.”

“Burke came to Seattle in 1875 and formed a law partnership with John J. McGilvra; he soon married McGilvra’s daughter Caroline.^[2] He established himself as a civic activist: one of his first projects was to raise funds for a planked walkway from roughly the corner of First and Pike (now site of Pike Place Market) through Belltown to Lake Union.^[7]

Cartoon of Thomas Burke, railroad man

He served as probate judge 1876-1880^[8] and as chief justice of the Washington Territorial Supreme Court in 1888.^[3]

“Irish as a clay pipe,”^[9] and well liked by early Seattle’s largely Irish working class, as a lawyer Burke was well known for collecting large fees from his wealthy clients and providing free legal services for the poor.  [Source: Thomas Burke (railroad builder)]

1931 ~ President James Monroe bust

US President James Monroe

Exactly 100 years after James Monroe‘s death (b. April 28, 1758 – d.July 4, 1831), Hermon MacNeil completed a bronze bust of this U.S. President.  It was MacNeil’s fourth statue of a US President. (Washington 1916, Lincoln 1928, McKinley 1906) 

This bronze bust by Hermon MacNeil resides in the Hall of Fame of Great Americans on the campus of Bronx Community College (formerly NYU). The aging memorial of over 100 busts was designed by Stanford White, famous “Beaux Arts” architect of New York City. 

Monroe was the fifth President of the United States (1817–1825).  He was the last president from the group known as the Founding Fathers.  Monroe was also the last President from the Virginia dynasty.  In 1936 MacNeil would sculpt one other Virginian from the Revolutionary era — “George Rogers Clark” (National Monument in Vincennes, Indiana site of the Clark’s Revolutionary victory at Fort Sackville).

CHECK OUT THESE LINKS ALSO:

1. Hall of Fame:  MacNeil has Four busts enshrined there.
2. MORE: on Monroe

~ ~ ~ ~ ~ ~ ~

1931 ~ HOPI ~~ PRAYER FOR RAIN  ~~ Issue #3

When Hermon MacNeil was asked to make the Third Issue of the new Society of Medalists Series, He chose to revert to his early experiences of 1895 of Native American in the Arizona and New Mexico territory.

The “Prayer for Rain” depicts the Moqui (Hopi) runner carrying the snakes to the river to activate the rain cycle of nature.

SILVER -One of only 20 minted ~ SOM.#3 – 1931 Hopi Prayer for Rain 1931

Hopi Prayer for Rain 1931 – MacNeil’s Medallion

Hopi Prayer for Rain 1931 – MacNeilk Medallion 2016

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

Hermon MacNeil’s “Prayer for Rain” was based on his statue “The Moqui Runner”

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

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

1931 Society of Medalists #3 ~ Moqui Runner and Hopi Rain Dance (reverse)

1932 CONFEDERATE DEFENDERS 

~~ Charleston, SC ~~ Ft Sumter Harbor ~~

Grafetti after shooting at Mother Emmanuel Church Charleston 2015

The “Confederate Defenders” designed and sculpted by Hermon A. MacNeil was selected by a committee of Charlestonians from over a dozen proposals of other sculptors. 

Unlike many monuments featuring soldiers, cannons arms, horsed and battles raging, MacNeil’s concept was different.

I like to think that the committee awarded the commission for this design because of its classical Beaux Arts treatment of allegorical symbolism.  In MacNeil communicated — Youth, Athleticism, defense, the shield bearing the Seal of South Carolina, The Athena Goddess of Charleston.

In the 21 Century the Monument has become a “protest site” after shootings in 2015 at a Bible study at Mother Emanuel Church a few blocks north. 

More recently opposing groups such as:  Black Lives Matter and  Flags Across the South. Have protested on the site.

Both groups gathered. Black Lives Matter marchers held their signs along The Battery wall. Across the street at the Confederate Defenders Monument, members of  as Charleston Police stood watch.

Eventually the City Council worked out a compromise schedule of rotating permits for the plaza of the statue area

MacNeil’s “Confederate Defenders” was completed in 1931

Confederate Defenders (detail)

Flat Abby and Grandmother Stearns visit the H. A. MacNeil statue in Battery park, Charleston, South Carolina in 2004.

Demonstrations of BLM and Southern ‘history patriots’

Demonstrators from both sides alternate turf.

Charleston Attempts to moderate Demonstrations on Sundays. 2020

Protest at Confererate Defenders 2020

http://www.nydailynews.com/news/crime/statue-honoring-confederacy-defaced-charleston-park-article-1.2266043

1932 U.S. Supreme Court  Building ~ East Pediment

Moses ~ Confucius ~  Salon

East Pediment Inscription of Supreme Court Building – Washington D.C.

US Supreme Court Building, East Pediment, Washington, D.C.

Justice the Guardian of Liberty

Confucius, Moses, Solon anchor the center of Justice theme.

Supreme “Hare” from Aesop’s Fable

MacNeil’s sculptures of Moses, Confucius, and Solon on the East Pediment of the Supreme Court Building in Washington, D.C.

Hermon A. MacNeil’s East Pediment on rear of Court

Lookimg Up to Justice the Guardian of Liberty

West Pediment (front) by Rob’t Aitkin.

Mercy & Youth, Fundamental & Supreme Character on this Court.

Visitors miss the MacNeil figures in the East Pediment at the rear of the Court Bldg.

The ‘Hare’ of Aesop’s fable as to ‘Slow but Steady’ Justice.

1935 – Vintage cars street Parking at the Supreme Court as it appeared in 1935 complete with vintage automobiles. The East Pediment was on the reverse side to the front steps. Behind MacNeil’s East pediment sculptures is the office of the Chief Justice.

Supreme “Tortoise” from Aesop’s Fable

Justice & Youth, Studying and Pondering of Judgments

The ‘Tortoise’ of Aesop’s fable as MacNeil’s Finale of Justice.

Moses, Confucius, Solo, and the other four pairs of figures.n

Published on Hermon Atkins MacNeil’s 67th Birthday – Ferbuary 27, 1933 – In the Brooklyn Daily Star – Front Page One, Columns 6 & 7.

General Alfred Howe Terry

General John Sedgwick

  1934 ~ Alfred H. Terry ~ Connecticut Capitol Building 

Location:  south elevation.   Artist: Hermon MacNeil.

1934 ~ John Sedgwick ~ Connecticut Capitol Building

Location:  south elevation.   Artist: Hermon MacNeil.

1936 ~ George Rogers Clark Memorial ~ Hero of the American Revolution

Clark National Monument where MacNeil’s George R. Clark is housed

MacNeil’s Statue of George Rogers Clark is inside the circular dome of the Monument in Vincennes, IN.  CLICK HERE for More

CLICK HERE for the National Park Service’s story of this National Monument (CLICK) 

This beautifully restored dome on the prairie contains Hermon Atkins MacNeil’s heroic statue of George Rogers Clark, a Virginian who saw the importance of the West in the war effort as a whole. He persuaded Virginia’s government (and Governor Thomas Jefferson) to support his efforts; then with 200 men, he crossed the Ohio River to the Mississippi River taking Kaskaskia and Cahokia, and returning to capture Fort Sackville at Vincennes.

The following video by RATIO Architects shows the reconstruction and restoration of The George Rogers Clark Memorial roof and foundations in 2005 after decades of leakage, erosion, corrosion, stalactite formation and water damage to the steps and walkways. (length 6:24 min; Source RATIO Architects )

Thanks RATIO for restoring  this monument of American history and giving us this documentation. Dan Leininger, webmaster of HermonAtkinsMacNeil.com

Treaty of Paris, by Benjamin West (1783), depicts the United States delegation at the Treaty of Paris (left to right): John Jay, John Adams, Benjamin Franklin, Henry Laurens, and William Temple Franklin. The British delegation refused to pose, and the painting was never completed.

The George Rogers Clark Memorial is on the sight of the British Fort Sackville of 1779. Clark and his 170 frontier men demanded surrender from  British Lt., Governor Henry Hamilton by surprise and deception on Feb 25, 1779. They marshaled troops waving flags and firing rapidly as if they were a larger army.  Clark’s strategies and victories in the West marked the beginning of the end of British domination in America’s western frontier and by the Treaty of Paris (1783) extended the 13 colonies westward to the Mississippi River. 

Re-enactment of Fort Sackville surrender

  ~  ~  ~  ~  ~  ~  ~  ~  ~  ~

1940 ~ The Pony Express ~ Saint Joseph, MO

Follow the setting Sun

The Legend of the Pony Express is larger than life.  The images of riders carrying pouches (mochilas) of mail from Saint Joseph, Missouri to Sacramento, California, (a 1900 mile route) through 186 Pony Express Stations along the route about 10 miles apart. Riders had to take an oath, must weigh less than 125 pounds, riding both day and night through sun and rain. Riders changed every 75 -100 miles or doubling that in emergencies from April 1860 to September 1961 before the transcontinental telegraph was completed.  

The legend of Hermon MacNeil’s Pony Express statue is told here on 5 different stories linked on this single thread searched with “Pony Express”.  (including Poncho Villa) MacNeil’s legendary statue includes:

• a black mounted action figure heading West with hair and bandana streaming,
• Four mochilas (pouches) for mail,
• a pistol on his hip,
• a Sun carved on the south side of the base symbolizing daytime and the Moon on the north side for night.
• The legend of “Poncho Villa” the wild Dakota range horse that MacNeil modeled for the muscular steed running to the sun.

Poncho Villa was an ‘outlaw’ horse tamed by Dr. S. Meredith Strong, a physician and horse lover who was the National President of the American Rough Riders Association, a group devoted to the preservation of the wild mustangs. He traveled thousands of miles as a lover-of-horse-flesh seeking to preserve this western heritage. He and MacNeil must have had some interesting conversations.  (The newspaper photo shows Hermon MacNeil seated on the statue).

Neither rain, sleet, snow or dark of night shall keep the rider from his appointed journey.  Burr!

HOTLINKS TO 1930-1940 Statues and Monuments by Hermon A. MacNeil

• 1930 “The Pilgrim Mothers and Fathers” ~ Waterbury, Connecticut
• 1930 Judge Thomas Burke Memorial, Seattle, WA
• 1931 “James Monroe” ~ sculpted for Hall of Fame of Great Americans
• 1931 Society of Medlists – “Moqui Dance for Rain”
• 1932 “Confederate Defenders” Charleston, SC
• 1932 U.S. Supreme Court – East Pediment ~ Washington DC
• 1934 “Alfred H. Terry,” Conn. Capitol, Hartford
• 1934 “John Sedgwick” Conn. Capitol, Hartford
• 1936 “George Rogers Clark” Memorial ~ Vincennes, IN
• 1940 “Pony Express” ~ St. Joseph, Missouri