WELCOME to the “Hermon A. MacNeil” — Virtual Gallery & Museum !
~ This Gallery celebrates Hermon Atkins MacNeil, of the Beaux Arts School American classic sculptor of Native images and American history. ~ World’s Fairs, statues, monuments, coins, and more… ~ Hot-links ( lower right) lead to works by Hermon A. MacNeil. ~ Over 200 of stories & 2,000 photos form this virtual MacNeil Gallery stretching east to west New York to New Mexico ~ Oregon to S. Carolina. ~ 2021 marks the 155th Anniversary of Hermon MacNeil’s birth. ~~Do you WALK or DRIVE by MacNeil sculptures DAILY! ~~ CHECK it OUT!
DO YOU walk by MacNeil Statues and NOT KNOW IT ???
In 1944 Carol Louise Brooks MacNeil died after extended illness.
During her months of declining health, she was nursed at home by her family and a home health nurse named, Cecelia Weick Muench, RN.
Cecelia Weick had served in the US Army as a battlefield Nurse during the World War. Caring for wound soldiers in war zones, she was no stranger to trauma and suffering.
As a young girl, her father taught her to appreciate art and took her to museums. He introduced her to “The Sun Vow” at the MMA. He told her that Hermon MacNeil was a “great American sculptor”. So she knew the name and fame of the Sculptors Macneil all her adult life.
So when an opportunity came for Cecelia to enter the MacNeil home and care for Carol during her dying months, she was more than just “another nurse.” She was a battle-hardened R.N. who could appreciate the works and careers of these two sculptors as their lives were parting in the months of Carol’s dying.
She must have brought a nurse’s compassion and an art lovers appreciation with her into this family of sculptors.
In her later years, Cecelia described herself by saying:
“I am familiar, too familiar, with death and dying, with the totality that is the human condition.” 1
She had a front row seat to Hermon’s lived-grief over the loss of his “Carrie.” But as Carol’s condition worsened, the needs exceeded the home-care options of the day. She was admitted to the Jamacia (Queens) Hospital.
Eventually, Carol Brooks MacNeil died there on June 22, 1944.
With the death of Carol MacNeil on June 22, 1944, the fifty-year partnership of the “Sculptors MacNeil” ended. Their connection which began in the “White City” of the Chicago Worlds Fair, continued through their years of training in Rome and Paris, maturing in Queens, NY, during the four decades they shared their College Point Studio and home.
For the next two years Hermon MacNeil continued to live alone in his College Point home. Next door was to the stone Studio building where he and Carol had sculpted together through the years of their marriage. Hermon must have felt an emptiness without Carol in his life, home and studio.
Postcard of MacNeil studio in College Point. From the webmaster’s collection.
Two 2nd Marriages
Hermon married Cecilia W. Muench in 1945. Cecelia was nearly 30 years younger than Hermon. Both of them had been recently widowed.
After serving in the World War, Cecelia Muench had married and continued her career as a RN. In 1940 a snapshot of her life was captured in the 1940 U.S. Census. She was 43 years old living in Queens, New York, with Karl, her husband, two daughters, Dorothy (18), Sarah (17) and a son, Karl (13). Her mother, Anna Weick also lived with the family.
Cecilia Weick first heard the name of “Hermon Atkins MacNeil” in 1909 on her 12th birthday. To celebrate, her father took her to the Metropolitan Museum of Art. Ascending into the American Wing, they sat down on a bench near MacNeil’s sculpture group of “The Sun Vow.”Sixty-four years later,Cecelia described that sculpture this way:
My own grandson in front of “The Sun Vow” at Metropolitan Museum of Art in New York City.
The Sun Vow portrays two Indians, elder and younger, chief and future brave, grandfather and grandson. The grandfather, his body still subtle and strong, is weary just the same. The viewer knows that the chieftain’s feathered head-dress … will never again be worn. The old Indian holds this symbol of authority on his lap as he presses the young Indian to him. The grandchild holds an arrowless bow, symbolizing the celebration of coming of age in the in Indian lore but transcending the culture of any age. For when the young brave is able to shoot an arrow into the son, far enough awayso that its decent to earth passes unseen, then he has attained manhood.
After at least five minutes of silence my father commented.
“Ceil, the man who created this work is surely one of the greatest American Sculptors. Never, never forget his name.”
I am still a romantic. My father’s words were to be part of my destiny. 37 years later I married Hermon Atkins MacNeil.
The photo on the cover shows the original plaster model of Hermon Atkins MacNeil’s “The Sun Vow”, executed in Rome while the sculptor was on a Reinhart scholarship.
Cecelia told this story of her 12th birthday in opening paragraphs of an article that she published in 1974, under the title, “Sculptor Americanus: Hermon Atkins MacNeil.”1Two additional articles completed the series of her remembrances.
Sculptor Americanus
MORE from this series of articles by Cecelia Weick MacNeil will be told in the coming months of the New Year.
So return
here
to
https://hermonatkinsmacneil.com/
for
MORE!
~~~~~~~~~~~~~~~~~~~
SOURCES:
Cecelia MacNeil with Dr. Allen Nestle. “Sculptor Americanus: Hermon Atkins MacNeil”. (First in a Series of Three), The Antiques Journal, April 1974, pp. 10-13, 54.
Lynn H. Burnett. (Editor’s Comments:)“Hermon Atkins MacNeil in Historical Perspective”. The Antiques Journal April 1974, pp. 4, 5, 48.
Cecelia MacNeil with Dr. Allen Nestle. “Sculptor Americanus: Hermon Atkins MacNeil”. (Second in a Series of Three), The Antiques Journal, May 1974, pp. 28-31.
Cecelia MacNeil with Dr. Allen Nestle. “Sculptor Americanus: Hermon Atkins MacNeil”. (Third in a Series of Three), The Antiques Journal, June 1974, pp. 32-35, 51.
Out of public view, deep in the archives of the Chicago Art Institute rests a 127 year old bust of Charles F. Browne, American artist.
Of all the thousands of talented artists, craftsmen, and sculptors building the “White City” in 1892, three gifted young men would travel in 1895 by train and horseback to the NEW American “West.” They would share life-forming experiences, there in the “Four Corners” area where Colorado meets New Mexico meets Arizona meets Utah.
~ ~ ~ ~ ~ ~ ~
~ THREE FRIENDS on a JOURNEY ~
~ Charles Francis Browne ~
~ Hermon Atkins MacNeil ~
~ Hannibal Hamlin Garland ~
Charles Francis Brown, at 33, was the oldest of the three.
For a decade he searched to discover and develop his talents. At the Chicago World’s Fair he began by painting murals in the Children’s Building.
Charles was born in Massachusetts to parents with a long history in New England. His father was a builder and contractor. Charles had three siblings. The oldest became a headmaster; a sister died in childhood; and his younger brother a foreman in a watch factory.
In his second year of high school, Charles became sickly. For two more years he was treated for appendicitis (then called “inflammation of the bowels”). He never returned to school, but instead worked ill-suited as a clerk in a hat store. Eventually he started design work for a lithograph company.
The artistic environment and peers led him to evening classes at Boston Museum of Fine Arts. He worked in stained glass (to please his practical father). Working days with lithographs and studying nights at art school, he developed many visual skills. But entry into the Art School required passing rigorous exams in human anatomy. For which he was unprepared.
So in 1885, at the age of twenty-five he moved to Pennsylvania and enrolled in the Philadelphia Academy of Fine Arts — working full time under realist painter Thomas Eakins.
Nai-U-Chi Chief of the Bow, Zuni. 1895 by C.F. Browne – Sid Richardson Museum – Retieved at https://www.illinoisart.org/charles-francis-browne. October 30, 2021.
Completing three years of study there, he went to Paris to study with renowned figural painter Jean-Léon Gérôme. His sojourns in the French countryside, inspired many paintings of landscapes in both oils and watercolors. Returning to the U.S. in 1891, he taught briefly at Beloit College before moving south to Chicago.
The Children’s Building at the World’s Columbian Exposition became the next canvas of his murals. Browne’s work became the walls of the building. After the Fair, his skills were sought as an instructor at the rapidly growing Art Institute of Chicago. MacNeil and Garland were part of the vast community of artists assembled in Jackson Park — home to the exhibition.
His trip in 1895 with sculptor Hermon Atkins MacNeil to the Southwest yielded subjects for his portraits of American Indian and figural scenes.
Later, 1897 he founded the journal Brush and Pencil, of which he served as editor until 1900. He produced hundreds of paintings in his career ahead.
Lorado Taft, provided a moving tribute to Browne at close of a fine life and career:
“No one among us has contributed more abundantly of his time to the service of the community… All of this activity combined with earnest, unremitting and valuable aid… would seem to be enough for one man. But… Mr. Browne, the citizen, has ever been first and foremost an artist. Never have we known a man more in love with nature… When one thinks of the joy that he has been able to record and to carry over to other hearts… it seems as though the most enviable of all estates is to be a landscape painter – a landscape painter like Charles Francis Browne!” CREDIT: https://www.illinoisart.org/charles-francis-browne
~~~~~~~~
Hermon A.MacNeil
Hermon was seven years younger than Browne. Their friendship is documented by the fact that MacNeil invited Browne to share his studio, persuaded him to pose for the bust, and traveled to the Four Corners with Garland as guide.
MacNeil, with the recommendation of Augustus Saint Gaudens, went from New York to the Chicago World’s Fair to work under Philip Martiny, who was sculpting the Electricity Building. After proving himself on the edifice spandrels and ornamentals, he was assigned “two statuary figures” on the upper structure. The Electricity Building’s main entrance was dominated by an imposing statue of Benjamin Franklin. Inside were housed the Tower of Light, displays by Western Electric, General Electric, American Bell Telephone, Edison’s latest phonographs and hundreds of other electrical exhibits from around he world. The exhibit was truly a celebration of the “modern” era of “Electricity.”
In 1894 after the Fair, Hermon modeled, completed, and cast the bronze bust of of Browne. Their trip together in 1895 inspired a decade of sculpting Native American images. Four decades of memorials, monuments, statues, building pediments and facades, coins, medallions,followed from his College Point Studio.
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
In 1931, Hermon MacNeil would again memorialize that Four Corners trip in his design for the Society of Medalists — Third Issue. Nearly four decades later that inspiration would return afresh in the “Hopi Runner” — “Prayer for Rain”
Garland, the leader of the adventure, was 31 years-old when he led his two friends on their tour to the west. His story and exploits have been told in many other postings on this website:
Main-Travelled Roads was his first major success. It was a collection of short stories inspired by his days on the farm. He serialized a biography of Ulysses S. Grant in McClure’s Magazine before publishing it as a book in 1898. The same year, Garland traveled to the Yukon to witness the Klondike Gold Rush, which inspired The Trail of the Gold Seekers (1899). He lived on a farm between Osage, and St. Ansgar, Iowa for quite some time. Many of his writings are based on this era of his life.
By the time of the Chicago Worlds Fair in 1893,[7] Hamlin moved to Chicago, where he lived at 6427 South Greenwood Avenue in the Woodlawn neighborhood. He is considered “a significant figure in the Chicago Literary Movement” and “one of Chicago’s most important authors”.[8] Moccasin Ranch Park, located near address, is named in his honor.[8]
“Sell the cook the stove if necessary and come. You must see the fair” -Novelist Hamlin Garland to his parents in 1893-
In Illinois, Garland married Zulime Taft, the sister of sculptor Lorado Taft, and began working as a teacher and a lecturer.[9]
A prolific writer, Garland continued to publish novels, short fiction, and essays. In 1917, he published his autobiography, A Son of the Middle Border. The book’s success prompted a sequel, A Daughter of the Middle Border, for which Garland won the 1922 Pulitzer Prize for Biography. After two more volumes, Garland began a second series of memoirs based on his diary. Garland naturally became quite well known during his lifetime and had many friends in literary circles.[10] He was made a member of the American Academy of Arts and Letters in 1918.[4] (https://en.wikipedia.org/wiki/Hamlin_Garland)
On this day seventy-four years ago, Hermon Atkins MacNeil died at his College Point Studio on October 2, 1947.
The Photo at right (taken at the MacNeil Cabin in Vermont) and the Bust by Jo Davidson) both date from about 1945, just two years before his death.
The website CHICAGO LOOP.ORG celebrates architecture in the Windy City. They tell the MacNeil story this way: 1
“Unable to transition from his Beaux Arts training to a more “modern” style, he had not had a major commission for nearly 15 years. 1 When he died, the contents of the studio was “hauled out to the dump” (where, much of the collection was salvaged by neighbor, illustrator John A. Coughlin who later donated it to the Smithsonian Institution.) It hadn’t always been that way.” [See Note 1 Below]http://chicagosculptureintheloop.blogspot.com/2012/01/hermon-atkins-macneil.html
One of several “Black Pipe” modelings that MacNeil sculpted. ~1894
They continue to say: “In 1891, 25 year-old MacNeil came West to Chicago. Where he assisted Philip Martiny with sculpture at the Electricity Building at the World’s Columbian Exposition (World’s Columbian Exposition, 1893). And, where, on the Midway, he met Black Pipe, an Ogala Sioux, performing at Buffalo Bill’s Wild West Show. Native Americans and their culture became the inspiration for MacNeil’s art for years to come. By late 1895 he was on his way to Monument Valley with Hamlin Garland and C.F. Browne — after working with Edward Kemeys at the Marquette (and no doubt hearing stories of Kemeys Wyoming adventures some 20 years earlier). The travels West were just the beginning.
On Christmas Day 1895 after winning the Prixe de Rome, he married Carol (Carrie) Brooks (one of Lorado Taft’s “White Rabbits – and a sculptor in her own right”). They sailed to Europe to take up three years in residence at the American Academy in Rome. And re-entered the Ecole des Beaux Arts in 1900. By 1901 he and Carol (with their two children) returned to America and established their studio in College Point on Long Island. With an entire career before them.
To quote Chicago Architecture, “National in scope, Beaux Arts in inspiration, MacNeil returned to Chicago in 1909, briefly, for the Cook County Seal Commission.”
Hermon MacNeil ~ Seal of Cook County on the Courthouse ~ 1908
But my favorite remains his Four Panels of Father Marquette life scuplted in 1895 in Chicago. “Where inspiration, youth, opportunity, and a beautiful, capable wife converged with the past and the future —
at the Marquette Building.”
Panel 4 – “The de Profundis was intoned … Fr. Marquette’s coffin carried.
Black Pipe, Sioux warrior from Buffalo Bill’s Wild West Show, stranded after the 1893 World’s Fair closed. MacNeil took him in to his studio after he was desolate in Chicago.
The man front and center is Black Pipe. (See detail at right).
Black Pipe lived at MacNeil’s studio, modeled for him, and worked as a gardener and assisted in tasks.
MacNeil’s bronze of Blackpipe, a Sioux warrior he befriended in 1893 (source Smithsonian Archives)
NOTE 1:
The comment “Unable to transition from his Beaux Arts training to a more “modern” style, he had not had a major commission for nearly 15 years.”is not entirely accurate. The “15 years”comment ignores the following: 1) two statues (Alfred H. Terry and John Sedgwick) on Connecticut Capitol building in 1934; 2) the statue of George Rogers Clark at the National Monument in Vincennes, Indiana dedicated by President FDR in 1936; and 3) the Pony Express Monument in St. Joseph, Missouri in 1940. It also overlooks 8 years of the Great Depression, plus 7 years of MacNeil’s retirement during those same fifteen years. Furthermore, the word “unable”seems presumptuous. Whether MacNeil was “unable”to transition or simply “chose not to transition”to a more modern style seems a false dilemma for speculatation. His sixty-plus-years of sculpting in the Beaux Arts style fully documents his “able-ity” and his preference for creative expression. This website offers continual documentation of those abilities.
Out of public view, deep in the archives of the Chicago Art Institute rests a 127 year old bust of Charles F. Browne, American artist.
Cast in Bronze with a dark brown patina, the piece is signed on pedestal; “MacNeil ’94” / “American Art Bronze Foundry. J. Berchem. / Chicago”
Charles Francis Browne, MacNeil Colleague and American Artist.
The subject was Hermon MacNeil’s colleague, frontier traveling companion, and studio mate in their Marquette Building studio. The piece came out of their years in Chicago after the 1893 World’s Columbian Exposition.
The archival piece enters its third century of history “OFF VIEW” at the archives of the Art Institute of Chicago. Here we offered it exclusively to You, —“Friends of Hermon Atkins MacNeil” — & followers of ‘HermonAtkinsMacNeil.com’. ENJOY !!
“Browne painted murals for the Children’s Building at the World’s Columbian Exposition and became an instructor at the Art Institute of Chicago’s rapidly growing school.” 2
Hamilin Garland and Browne were “double” brothers-in-law having married sisters of Lorado Taft, the chief sculptor of the Exposition. Taft was the brother of both of their wives. They all along with MacNeilwere part of the Eagles Nest, a summer artist colony in Oregon, Illinois. Browne was a founder of the summer group.
Portrait of Charles F. Browne by H. A. MacNeil 1894. Art Institute of Chicago. [Signed on pedestal; “MacNeil ’94” / “American Art Bronze Foundry. J. Berchem. / Chicago”] 1
The adventure in the Summer of 1895 shaped the lives of all three men, but especially MacNeil who evolved an enduring interest in the Native American Indian as a subject of Beaux Arts sculpture.
The dating of the bust of C. F. Browne precedes their venture to the Southwest Territory but documents the shared years of their early careers in the 19th century.
Writing in 1943, MacNeil recalls these years in Chicago:
“I took a small studio in Chicago and tried to see if I could make a go of it. C. F. Browne, painter, was also stranded there and I invited him to share a studio with me. During that year (evenings) I was asked to teach sculpture and drawing in the school of the Art Institute and also had the good fortune to have four bas-reliefs to do illustrating the life of Pere Marquette.” [ MacNeil, Autobiography
MacNeil’s four bas-reliefs of the life of Pere Marquette still make frame the four-door entrance of the building
The Marquette Building panels after cleaning efforts several years ago sparkle with history and beauty at the 140 South Dearborn Street entrance.
Chicago Architecturecelebrated the building renovation and mentioned the 126 year old sculpture panels”
“At the main entrance are four bronze relief sculptures by Hermon A. MacNeil illustrating Father Marquette and Louis Joliet’s travels. They depict the pair launching their canoes, meeting Native Americans, arriving at the Chicago River, and interring Marquette’s body. On the revolving doors are kick plates with tomahawks and push plates with panther heads designed by Edward Kemeys (of the Art Institute lions fame). The vestibule features French and Catholic motifs like fleurs-de-lis and the cross.”
~ ~ ~ ~ Chicago Art Institute Notations for this work ~ ~ ~ ~
Portrait of Charles F. Browne by H. A. MacNeil 1894.
Portrait of Charles Francis Browne. Date: 1894
Artist: Hermon Atkins MacNeil. American, 1866–1947
ABOUT THIS ARTWORK: Currently Off View
SOURCES:
Art Institute of Chicago. Portrait of Charles Frances Brown by Hermon MacNeil. https://www.artic.edu/artworks/102974/portrait-of-charles-francis-browne
See Also: M Christine Schwartz Collection. https://schwartzcollection.com/artist/charles-francis-browne/
MacNeil’s original 1895 Chief Manuelito as he rested above the doors of C.N. Cotton’s Trading Post in Gallup, New Mexico
During his 127 years of standing in Gallup, New Mexico, MacNeil’s 8’4″ cement constructed “Chief” was:
Chief Manuelito of the Navajo (circa 2003)
Commissioned by trader, C. N. Cotton,
Sculpted under a tent cover in the desert,
Sculpted of cement,
Built around a wood and wire armature,
Wrapped in the colors of the Chief’s blanket,
Standing above the entrance of the trading post,
Weather-beaten,
Sun-baked,
Often repainted,
Moved awkwardly,
Visited by Navajo Elders and young children,
Becoming an icon of the Navajo people,
Hidden from sale to a grocery conglomerate,
Stored in a warehouse by the Cotton family,
Donated to McKinley County, N.M. at age 115 years,
Approved for restoration with County funds,
Professionally restored by EVERGREENE Architectural Arts,
The new centerpiece of the Courthouse Annex,
Given a new century as an “Icon” on the people of Gallop, N.M.
Evergreene Arts employee patiently restoring Hermon MacNeil’s 1895 desert figure of Chief Manuelito.
MacNeil’s “Chief Manuelito of the Navajo” as restored by McKinley County for new Courthouse Annex.
MacNeil sculpted a cement statue of Chief Manuelito for trader C. N. Cotton under a tent in the dessert. His subsequent sculptures of Native Americans after that summer of 1895 continued his cultural interest. That fascination 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 before MacNeil’s trip with Garland.
AN AMAZING STORY OF RESTORATION:
EVERGREENE Architectural Arts of Brooklyn N.Y. is the enterprise that restored this piece. Their story of this project with photos of the elements of the project are duplicated here from their website. 1
Chief Manuelito Sculpture
City Hall, Gallup, NM
Chief Manuelito served as an important Navajo leader in the mid-19th century against the encroachment of the U. S. Government. Kit Carson’s scorched earth campaign left many native people starving though until they were forced to turn themselves in. Throughout this period, Manuelito led attacks and remained among the last to surrender. He remained a popular leader, advocating for perseverance in the native culture and advancement through education. He is represented here by the artist Hermon Atkins MacNeil, who created several other notable sculptures of Native American subjects and themes.
The Chief Manuelito sculpture was created using wood, plaster, and paint. Past cleaning efforts had caused significant damage. Cracks in the gypsum and plaster layers were associated with the movement of the wooden armature. The sculpture had areas of loss, and areas of visible previous repairs.
We were contracted to perform the sculptures’s plaster and paint conservation treatment. After the condition assessment, paint samples were collected and investigated to develop the earliest color compositions, likely paint scheme, and pattern of the blanket. Treatment of the sculpture itself proceeded in three parts: structural stabilization and integration of new base and support components, consolidation and repair of deteriorated decorative plasterwork, and paint removal along with repainting where needed. We also provided guidance for the display of the sculpture, and a maintenance plan for its continued preservation. SOURCE: EVERGREENE Architectural Arts
GOOD NEWS ! SURPRISE ~ Hermon MacNeil’s Chief Manuelito is back!
Yesterday’s post about MacNeil and Manuelito generated considerable interest and news from Gallup, NM.
Carolyn Milligan saw our Native American Day story and responded:
“The restored Manuelito has been installed. Early tomorrow I’ll see and visit him. There are a few details to conclude but I will send you images of the restoration. Manuelito[‘s] dignity and presence have been skillfully restored. You will be pleased with the result.” … Give me a few days to reply to you and to send you images of Manuelito installed in his new location. You will then have before and after images of Manuelito to include on your website.
Artist Julian Scott’s portrait of Manuelito‑ Chief of the Navajos [Source: americangallery.wordpress.com]
In his seventy-five years of life, the Chief was driven, accused, abused, enraged, betrayed, wise, proud and a thousand other emotions that a leader might feel in a war of cultures. All these experiences exacted a price from his life and energy.
Harrison Lapahle’s website offers a brief history of Manuelito. He describes the warrior’s closing years with a sorrow and painful candor that recalls the similar sorrow of his Navajo Nation.
“He spent the last ten years of his life unhappy, certain that he had done the wrong thing by encouraging education, and by taking back all the livestock stolen by the young raiders of the tribe. Whisky was small comfort for his misery, but he drank it anyway. All around him his people still believed his words “Education is the ladder,” and they sent more and more of their children to school. They followed Manuelito even though he refused to lead them any longer.
A delegation of Navajo representatives who traveled to Washington, D.C., in 1874 to discuss the provisions of the 1868 treaty with President Ulysses S. Grant. The delegation consisted of (left to right, front row): Carnero Mucho, Mariano, Juanita (Manuelito’s wife), Manuelito, Manuelito Segundo, and Tiene-su-se Standing: “Wild” Hank Sharp (Anglo), Ganado Mucho, Barbas Hueros, Agent Arny, Kentucky Mountain Bill (Anglo), Cabra Negra, Cayatanita, Narbona Primero, and Jesus Arviso, interpreter.
He was a disheartened man, seventy-five years old in 1893, when he became very ill. Measles and then pneumonia brought the weakened old man to his deathbed.
In his fever, the years seemed to fade as he watched the sunlight play in small patches on the hogan wall. He saw the faces around him, his friends and family. He thought he heard Zarcillos Largos say, “Come, on the path of beauty you will restore your strength.” Manuelito closed his eyes in peace.
His death saddened many Navajos who had found strength in his strength. But his life had given his people a new trail to follow, and they walked it proudly, as Manuelito had walked.” [ http://www.lapahie.com/manuelito.cfm ]
A wonderful surprise! We await the return of the Chief to Gallup.
Seeing Chief Manuelito with his ‘dignity’ back, will prepare us all for the 21st Century.
History of Manuelito, Navajo Chief. Read more at: https://www.aaanativearts.com/manuelitio-navajo
Navajo Chief Manuelito (1818–1893) was one of the principal war chiefs of the Diné people before, during and after the Long Walk Period. His name means Little Manuel in Spanish.
As any Navajo, he was known by different names depending upon context. He was known as Ashkii Diyinii (Holy Boy), Dahaana Baadaané (Son-in-Law of Late Texan), Hastiin Chʼilhaajiní (“Black Weeds”) and as Nabááh Jiłtʼaa (War Chief, or Warrior Grabbed Enemy) to other Diné. After his first battle at age 17, he was given the name Hashkeh Naabaah, meaning Angry Warrior.
Read more at: https://www.aaanativearts.com/manuelitio-navajo
ART OF ALL ARTS – (ARS ARTIUM OMNIUM) ~ Saint Louis Art Museum ~ MacNeil’s Center Panel above the Main Entrance
“ART OF ALL ARTS”
was Hermon A. MacNeil’s Centerpiece panel above the entrance to the Museum of Fine Arts at the
1904 St. Louis World’s Fair. In 1913 a permanent reconstruction was made as the
Saint Louis Art Museum.
“Dedicated to Art and Free to All”
The SLAM Website comments: “Ironically, the most inconspicuously placed of MacNeil’s sculptures for the fair has become his most enduring contribution to the Art Museum. Ars Artium Omnium, or The Art of All Arts, is a series of three panels above the doorways of the Museum’s north facade. Originally crafted in plaster, it was later carved in stone and given a gold mosaic background thanks to funds provided by the Louisiana Purchase Exposition Company of 1913.” [https://www.slam.org/blog/the-art-of-all-arts/ ]
The MacNeil sculpture above the main entrance of the Saint Louis Art Museum is a fine example of the Beaux Arts style of World Fairs of this era. (http://www.slam.org/).
The Figure of Beauty is enshrined in the center panel is adored by the figures in the other panels left and right.
Hermon A. MacNeil was an up-and-coming younger American sculptor at the time of the Louisiana Purchase Exposition in 1904. At the fair, his Fountain of Liberty and four other sculpture groups were placed along the Main Cascade. Three additional MacNeil works were much admired inside the Fines Arts Palace, now known as the Saint Louis Art Museum’s Sculpture Hall.
Ironically, the most inconspicuously placed of MacNeil’s sculptures for the fair has become his most enduring contribution to the Art Museum. Ars Artium Omnium, or The Art of All Arts, is a series of three panels above the doorways of the Museum’s north facade. Originally crafted in plaster, it was later carved in stone and given a gold mosaic background thanks to funds provided by the Louisiana Purchase Exposition Company of 1913.
In the right hand-panel the figures of architecture and the allied arts; Ceramic and the kneeling figure typifying the discovery of the beauty from the earth.
Hermon A. MacNeil, American (1866-1947); Ars Artium Omnium (The Art of All Arts), 1914; stone relief panels with gold mosaic; Saint Louis Art Museum, Gift of Louisiana Purchase Exposition Company 158:1913
Ars Artium Omnium draws from a familiar series of motifs based on ancient and Renaissance art. In MacNeil’s own words:
In regard to an interpretation of the bas-relief of the facade of the City Art Museum, the attempt was made to produce a figure of beauty, as the central figure in the milled panel – “an apotheosis” – if you will, enshrined. On either side of her (is) St. Louis – with the city seal – out of her abundance, paying homage to the beauty… On the right, you have allegorical figures representing Sculpture, Painting, Music, and the fourth figure introduced (that could) go by any name… On the opposite side are the figures of architecture and the allied arts; Ceramic and the kneeling figure typifying the discovery of the beauty oftentimes dug from the earth that has been produced in past ages. You will notice in the grouping (that) the two side panels lead toward the central figure.
“Dedicated to Art and Free to All” are the words above MacNeil’s three Panels at Saint Louis Art Museum entrance
This MacNeil Medallion is a 3" bronze medal with nickel plating minted in 2016 to commemorate the 150th Anniversary of the birth of Hermon Atkins MacNeil and the 100th Centenary year of the first minting of the Standing Liberty Quarter dollar. The face duplicates the obverse of MacNeil's original sculpture of Miss Liberty from 1916. The "M" beneath the 13th star is the only form of signature allowed for the sculptor.
<== NOW AVAILABLE ON EBAY the Hermon A. MacNeil Medallion
Here is ONE place to go to see sculpture of Hermon A. MacNeil & his students. Located in cities from east to west coast, found indoors and out, public and private, these creations point us toward the history and values that root Americans.
Daniel Neil Leininger ~ HAMacNeil@gmail.com
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WE DESIRE YOUR DIGITAL PHOTOS – Suggestions
1. Take digital photos of the work from all angles, including setting.
2. Take close up photos of details that you like
3. Look for MacNeil’s signature. Photograph it too! See examples above.
4. Please, include a photo of you & others beside the work.
5. Tell your story of adventure. It adds personal interest.
6. Send photos to ~ Webmaster at: HAMacNeil@gmail.com
Eventually, Carol Brooks MacNeil died there on June 22, 1944. 
Hamlin Garland was an accomplished novelist
Commissioned by trader, C. N. Cotton,
