Archive for Saint Louis
SUPREME COURT – Arrival at last!
Posted by: | Comments
“Slow but steady wins the race.”
So said Aesop in the fable of the “Tortoise and the Hare.” And those are the two last figures that Hermon A. MacNeil placed as ‘bookends’ on either end of the East Pediment of the US Supreme Court Building. On our recent visit to Washington, D.C., we slowly made our way to the Supreme Court Building, we walked steadily around to the East Pediment (back side) passing the barricades for all the current landscape construction.
There, hidden high on the seldom-seen back side of **Cass Gilbert’s last architectural achievement, rests the eleven marble figures of Hermon A. MacNeil’s tribute to “Justice: The Guardian of Liberty.” Unless you walk around the building you will miss this massive work of art.
Moses, Confucius, and Solon represent three great world civilizations. Moses (receiver of Hebrew Ten Commandments) is in the center. To his right is Confucius (Chinese philosopher and teacher). To Moses’ left is Solon (Athenian lawmaker, statesman, and poet). MacNeil explained his work as follows:
“Law as an element of civilization was normally and naturally derived or inherited in this country from former civilizations. The ‘Eastern Pediment’ of the Supreme Court Building suggests therefore the treatment of such fundamental laws and precepts as are derived from the East.”
This trio of law makers are framed on left and right by three pairs of allegorical figures. The rest of the grouping is as follows:
“Flanking this central group – left – is the symbolical figure bearing the means of enforcing the law. On the right a group tempering justice with mercy, allegorically treated. The “Youth” is brought into both these groups to suggest the “Carrying on” of civilization through the knowledge imbibed of right and wrong. The next two figures with shields; Left – The settlement of disputes between states through enlightened judgment. Right – Maritime and other large functions of the Supreme Court in protection of the United States. The last figures: Left – Study and pondering of judgments. Right – A tribute to the fundamental and supreme character of this Court. Finale – The fable of the Tortoise and the Hare.“
East Pediment description: CLICK HERE
** NOTE: “Gilbert, Sr. died in 1934, one year before the completion of the Supreme Court Building by his son, Cass Gilbert, Jr. MacNeil and Gilbert first collaborated in 1904 at the Saint Louis World’s Fair. That “Palace of Fine Arts” on Art Hill now houses the St. Louis Art Museum.”
The three MacNeil sculptures above the main entrance of Cass Gilbert’s ‘Palace of fine Arts’ are examples of the Beaux Arts style of World Fairs of this era. (http://www.slam.org/).
For more on Supreme Court Building See Also:
1. https://hermonatkinsmacneil.com/2010/05/29/tortoise-and-hare-taken-to-supreme-court/
2. https://hermonatkinsmacneil.com/2010/08/07/moses-confusius-and-solon-at-supreme-court/
For more on Saint Louis World’s Fair See Also:
1. https://hermonatkinsmacneil.com/2010/08/06/macneil-sculpture-st-louis-art-museum/
3. https://hermonatkinsmacneil.com/2011/03/12/expositions-and-worlds-fairs-hermon-a-macneil/
“Sun Vow” – MacNeil’s most famous piece
Posted by: | Comments
Hermon MacNeil's "Sun Vow" graces over a dozen museums including the MMA in NYC.
The size of this piece (72-74 measured variously) is the same of those in major museum collections. Several links on this website (see below and also “MUSEUMS: with MacNeil Art” section in lower right) connect to these “Sun Vows.” Possibly a dozen of these exist, publicly and privately.
Metropolitan Museum of Art – NYC, NY
Art Institute of Chicago
Phoenix Art Museum ~ Phoenix, AZ (Sun Vow)
The Saint Louis Art Museum ~St. Louis, MO (Reliefs over porch -Sun Vow)
His typical signature "H. A. MacNeil Sc" (Sc for Sculptor). Underneath the initials "RRS" (for "Roman Rinehart Scholarship," his sponsor of study) and the Location of casting "ROME"
Numerous smaller casts (about 36″) and even miniatures authorized by MacNeil himself were cast up until the 1920s. These also are highly desirable and found in many museums.
Buffalo Bill Historical Center – Cody WY (Sun Vow)
Orlando Museum of Art, Orlando FL
Chrysler Museum of Art – Norfolk, VA
Herman Atkins MacNeil often placed “Sc” behind his signature on sculptures (as seen above, and in other photos on his signature on this website.
According to McSpadden, an article on MacNeil in the Craftsman stated,
“In The Moqui Runner, The Primitive Chant, The Sun Vow, The Coming of the White Man, and many others of his Indian statues, MacNeil always gives you the feeling of the Indian himself, of his attitude toward his own culture of the Sun Vow that MacNeil has memorialized, are a compounded and profound statement of the power of art and artists. vanishing tribes, and his point of view toward the white race which has absorbed his country. It is never the Indian of Buffalo Bill’s Wild West, trapped out for curiosity seekers, but the grave, sad, childlike man of the plains, faithful to his own tribe, once loyal to us, though now resentful; and always a thinker, a poet, and a philosopher.” (McSpadden lists the following source: “The Art of MacNeil,” Craftsman. September 1909).
( See also: Florence Finch Kelly, “American Bronzes at the Metropolitan Museum: An Important Collection in Process of Formation.” Craftsman, 1907: Volume XI, February 1907, Number 5, pp 545-559.)
Dr. Andrew Walker, an associate curator at the St. Louis Art Museum, has written a chapter in “Shaping the West.” MacNeil’s ‘Sun Vow’ was chosen for the cover photo of that publication by the Denver Art Museum. Walker’s essay there is entitled: “Hermon Atkins MacNeil and the 1904 World’s Fair: A Monumental Program for the American West.” Walker has written and presented extensively on MacNeil.
It is all in the faces - the ideals passed to a new generation.
While highlighting the work of Hermon Atkins MacNeil, Dr. Walker illustrates how the 1904 World’s Fair included a monumental sculpture initiative. He does this with narrative and photo description of the major sculptures that formed the grounds, fountains, waterfalls and buildings of the 1904 Louisiana Purchase Exposition in Saint Louis. The current St. Louis Art Museum (where Walker is a curator) was the “Palace of Fine Arts” conceived by Cass Gilbert, architect of the fair grounds (and later the US Supreme Court Building). Over a century later, Mac Neil’s three sculpture relief panels still look down from their vantage point above the three sets of doors at the main entrance.
The 'Sun Vow' at the MMA - NYC - with Daniel Chester French's "Angel of Death" in relief in background (See also Webmaster's <= Comment at left.
The more I study this sculpture (as other MacNeil pieces?) the more new details I find in MacNeil’s creations.
The photo at right shows MacNeil’s Sun Vow with Daniel Chester French’s “Angel of Death” in the background. French and MacNeil were colleagues and collaborators. The Angel of Death has grasped the hand of the sculptor. See more of this DCF piece HERE.
Webmaster’s Comment: The beauty and ‘irony’ of the two sculptures together, long after the death of the two sculptors and the vanishing of the culture of the Sun Vow that MacNeil has memorialized, are a compounded and profound statement of the power of art and artists.
SOURCES:
-
SHAPING THE WEST : American Sculptors of the 19th Century. With additional essays by Alice Levi Duncan, Thayer. Tolles, Peter Hassrick, Sarah E. Boehme, and Andrew Walker.
- Florence Finch Kelly, “American Bronzes at the Metropolitan Museum: An Important Collection in Process of Formation.” Craftsman, 1907: Volume XI, February 1907, Number 5, pp 545-559.)
1904 Louisiana Purchase Exposition ~ ~ Saint Louis World’s Fair
Posted by: | Comments
"The Coming of the White Man" ~ MacNeil posed Black Pipe, the Sioux Warrior in Buffalo Bill's Wild West Show that he befriended after the 1893 Chicago Fair. (Antique Postcard courtesy of Gil Shell)
The 1904 Louisiana Purchase Exposition ~ St. Louis World’s Fair, commemorated the 100th Anniversary of the Louisiana Purchase.
At the 1270 acre Forest Park location and the campus of Washington University the Fair was constructed and the Olympic Games were held.
“Fifteen major exhibition Palaces radiated in fan pattern from central Festival Hall in “setting of lagoons, boulevards, gardens, fountains and sculpture” (1,200 pieces of statuary). Electric light, sign of progress then, used “lavishly” for both decoration and illumination. Featured were motor car, aeronautics and wireless telegraphy–all at their earliest, most exciting stage of development; spotlight on auto which had traveled from New York City to St. Louis, then “an unprecedented feat and a hazardous journey.” Olympic Games held during Exposition in first concrete stadium built in U.S.”
(http://www.so-calleddollars.com/Events/Louisiana_Purchase_Exposition.html)
For the event, MacNeil exhibited three sculptures: “The Moqui Runner,” “A Primitive Chant,” “The Coming of the White Man” (pictured here from period postcard showing the Portland, Oregon setting.)
On a prominent hill of the Forest Park location, Cass Gilbert designed and build the Palace of Fine Arts. This one permanent building remains 106 years later as the home of the Saint Louis Art Museum (SLAM).
It also became one of many collaborations of Gilbert and MacNeil over the next 30 year. The most famous of these would be the last in 1932 – the U.S. Supreme Court Building in Washington, D.C.
Gilbert designed the front entrance of this Palace of Fine Arts to bear six Corinthian columns. The four central columns frame the three MacNeil reliefs sculptures above the three entrance doors. Inscribed on his center panel are the words “ARS ARTIUM OMNIUM “roughly meaning, “The art of all arts.”
That panel is pictured here.
"ARS ARTIUM OMNIUM" is a MacNeil creation for the 1904 St Louis Worlds Fair
This link below on the SLAM website also offers more detail images of all three panels and the building entrance:
Fine Arts by Macneil in Relief on the SLAM website:
The MacNeil work was a part of that “Palace of Fine Art” and his abilities in the Beaux Arts style seemed to seal his collaborative link to many projects grown from Cass Gilbert’s genius. The inscription “ARS ARTIUM OMNIUM” translates literally from the Latin as “the Art of all Arts.”
Above the columns of the Saint Louis Art Museum are inscribed the words, “DEDICATED TO ART AND FREE TO ALL – MDCDIII.” That Free to All spirit remains today in that admission is free through a subsidy from the ZMD.
A New York Times article offers editorial on “free art” http://www.nytimes.com/2006/07/22/arts/design/22admi.html?_r=1
Other works completed by MacNeil for the fair were the “Fountain of Liberty” and the massive sculpture “Physical Liberty.” The artist rendition below shows both. “Physical Liberty” is the large Buffalo sculpture on the right. A young woman on the other side accompanies the powerful beast. Detail photos of the fountain are difficult to attain. Hopefully, more to Come!
In the meanwhile, Enjoy!
Artists View of the Louisiana Purchase Exposition ~ Looking north from the Cascades. The Buffalo figure on the right is MacNeil's "Physical liberty." The Dolphins that stair-step down th the cascades are also MacNeil creations.
The MacNeil sculptures 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. (Credit SLAM at http://www.slam.org/).
Expositions and World’s Fairs ~ Hermon A. MacNeil
Posted by: | CommentsThe 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 Eighteenth, Nineteenth and Twentieth centuries were filled with hundreds of World’s Fairs. Hermon Atkins MacNeil began his career as a sculptor in the 1890s. He worked on five of these events that were in the U.S. between 1901 and 1915. He helped design buildings, outdoor art, plazas, exhibits, and entered sculptures in many of these expositions.
MacNeil’s works were entered in the Pan-American Exposition in Buffalo (1901); the Charleston Exposition in South Carolina (1902); the Louisiana Purchase Exposition in St. Louis (1904); [MacNeil Sculpture “Meets Me in St. Louis” (7.3) On a recent trip to Saint Louis, Missouri to visit…] the Lewis and Clark Exposition in Portland, Oregon (1905); and the Pan-Pacific Exposition in San Francisco in (1915)
In future postings we will gather information on these events and MacNeil’s involvement in expos that became extravaganzas of art and sculptures. So more on Chicago, Buffalo, Charleston, Saint Louis, Portland, and San Francisco fairs. Most of the fairs that MacNeil worked on were built in the peak era of the Beaux Arts style of architecture and sculpture in the U.S. He was part of a the American Renaissance from 1890 to 1920, the last phase of Neoclassicism in United States. (See also Beaux Arts link above).
Below is a Wikipedia list of World Fairs from 1700 to the present. Modern Expos tend to be held in outside of the USA in nations with developing economies and growing world trade.
List of World’s Fairs: Source: http://en.wikipedia.org/wiki/List_of_world%27s_fairs#1890s
Stay tuned!
Photo Credit: http://www.slam.org/
webmaster
MacNeil Sculpture “Meets Me in St. Louis”
Posted by: | CommentsOn a recent trip to Saint Louis, Missouri to visit family, I was met by not by “Louis” but by “Hermon”
For the last 106 years (since the Worlds Fair inspired the song “Meet Me in St. Louis, Louis”) a sculpture by Hermon A. MacNeil has been quietly greeting visitors at the front door of the St Louis Art Museum. The piece resides high above the center doors at the main entrance of the building.
"ARS ARTIUM OMNIUM" is a MacNeil creation for the 1904 St Louis Worlds Fair
Saint Louis Art Museum main entrance. The MacNeil sculpture rests above the center doors recessed between the center columns.
The building itself represents one of MacNeil’s first collaborations of with renowned architect, Cass Gilbert. His last project with Cass Gilbert was the US Supreme Court Building in 1933.
The Cass Gibert Society website offers images of his lifetime of architectural achievements.
The Saint Louis World’s Fair of 1904 was formally known as the Louisiana Purchase Exposition. It was an international exposition commemorating the Louisiana purchase of 1803. It was delayed from a planned opening in 1903 to 1904 to allow for the full-scale participation by more states and foreign countries. The song, “Meet Me in St. Louis, Louis” was inspired by the 1904 St. Louis Worlds Fair.
The Palace of Fine Art, designed by architect Cass Gilbert, featured a grand interior sculpture court based on the Roman Baths of Caracalla. Standing at the top of Art Hill, it now serves as the home of the Saint Louis Art Museum. … Gilbert was also responsible for … (Saint Louis Public Library), state capitol buildings (the Minnesota, Arkansas and West Virginia State Capitols, for example) as well as public architectural icons like the United States Supreme Court building. His public buildings in the Beaux Arts style reflect the optimistic American sense that the nation was heir to Greek democracy, (Wikipedia).
The MacNeil work was a part of that “Palace of Fine Art” and his abilities in the Beaux Arts style seemed to seal his collaborative link to many projects grown from Cass Gilbert’s genius. The inscription “ARS ARTIUM OMNIUM” translates literally from the Latin as “the Art of all Arts.”
Above the columns of the Saint Louis Art Museum are inscribed the words, “DEDICATED TO ART AND FREE TO ALL – MDCDIII.” That Free to All spirit remains today in that admission is free through a subsidy from the ZMD.
A New York Times article offers editorial on “free art” http://www.nytimes.com/2006/07/22/arts/design/22admi.html?_r=1
The SLAM is one of the principal U.S. art museums, visited by up to a half million people every year. MacNeil’s art is among some of the first to silently greet them.
The Art Museum at Forest Park in Saint. Louis, Missouri at night. on 27 September 2008. (credit: Kitz000 - Matt Kitces at Wikipedia Commons ) http://en.wikipedia.org/wiki/File:StLouisArtMuseum.jpg
[mappress]
