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

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

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

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

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

Take a Virtual Journey

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

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

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

Maybe there are some near you!

Archive for World’s Fairs

Protesters in the shadow of Hermon MacNeil’s statue of Pres. McKinley scream outside of the Capitol doors. Columbus, Ohio

Angry Protestors at the Ohio Capitol screamed over their governor’s “Stay-at-home” orders outside the locked door.  That same day, five other states experienced protests.  “LIBERATION” of all these states was “whispered” by Donald Trump’s Twitter feed the day before. (see below … )

To scream at that door they had to walk past Hermon A. MacNeil’s monumental tribute to President Wm. McKinley, as well as, its 20 foot marble pedestal and its 80 foot podium with four bronze figures that interpret the life of the slain 25th President of the United States.  

MacNeil’s sculpture design for the Award Medals at the Pan American Exhibitition, Buffalo, NY 1901 (reverse). All award medals were struck from the same design whether in Bronze, silver or gold. These are silver medals.

MacNeil exhibited at the 1901 Pan American Exposition in Buffalo, NY where McKinley was slain.  He also designed the medallion that was awarded for the gold, silver, and bronze medals for exhibit winners. 

BUT these “PROTESTORS” didn’t seem to have any awareness of history (neither does our 45th President) or of a global COVID-19 PANDEMIC.  They exhibit their irrational “fantasy world” as a political statement molded after “TRUMP RALLIES.” 

Jeff Darcy offers an apropos opinion and  cartoon below: 

CLEVELAND, Ohio — The “Enabler-in-Chief” President Donald Trump has helped incite protests in multiple states against lockdown measures to fight Covid-19 by tweeting for states to be “Liberated” and dismissing the protests as slight cases of “cabin fever” just as he had initially dismissed the coronavirus spread in the United States.

On Friday, Trump posted in a series of tweets calls to “LIBERATE MINNESOTA”. “LIBERATE MICHIGAN” and “LIBERATE VIRGINIA, and save your great 2nd Amendment.” 

All three states have Democratic Governors and are pivotal in Trump’s reelection bid.  [https://www.cleveland.com/darcy/2020/04/trump-liberate-tweets-enable-protesters-darcy-cartoon.html]

 

Trump Cabin Fever Virus

Credit: Jeff Darcy at https://www.cleveland.com/darcy/2020/04/trump-liberate-tweets-enable-protesters-darcy-cartoon.html

McKinley’s assassin was an anarchist.

By Henry Donovan – NOTE 2

Leon Frank Czołgosz (Polish pronunciation: [ˈt͡ʂɔwɡɔʂ], roughly “CHOW-gosh“; May 5, 1873 – October 29, 1901) was an American steelworker and anarchist who assassinated American President William McKinley on September 6, 1901 in Buffalo, New York, with a .32 Caliber Iver Johnson revolver. Czolgosz was executed seven weeks later on October 29, 1901.

Czolgosz believed there was a great injustice in American society, an inequality which allowed the wealthy to enrich themselves by exploiting the poor. He concluded that the reason for this was the structure of government itself. Then he learned of a European crime which changed his life: On July 29, 1900, King Umberto I of Italy had been shot dead by anarchist Gaetano Bresci. Bresci told the press that he had decided to take matters into his own hands for the sake of the common man. [22]  [https://en.wikipedia.org/wiki/Leon_Czolgosz]

The 45th PRESIDENT has established himself as a true “Liar-in Chief” …

DOES the 45th PRESIDENT also PROMOTE anarchy? 

Evaluate that question for yourself? 

Hint — a definition:

anarchy

McKinley’s assassin was a documented anarchist.

McKinley’s assassin, Leon Frank Czołgosz was an unemployed, angry, anarchist.

Leon Czolgosz shoots President McKinley with a revolver concealed under a cloth rag. Clipping of a wash drawing by T. Dart Walker. [Source: https://en.wikipedia.org/wiki/Assassination_of_William_McKinley]

William McKinley, the 25th President of the United States, was shot on the grounds of the Pan-American Exposition at the Temple of Music in Buffalo, New York, on September 6, 1901, six months into his second term. He was shaking hands with the public when anarchist Leon Czolgosz shot him twice in the abdomen. McKinley died on September 14 of gangrene caused by the wounds. He was the third American president to be assassinated, following Abraham Lincoln in 1865 and James A. Garfield in 1881. [https://en.wikipedia.org/wiki/William_McKinley]

 

 

Assassination of President William McKinley

On August 31, 1901, Czolgosz traveled to Buffalo, New York, the site of the Pan-American Exposition, where he rented a room in Nowak’s Hotel at 1078 Broadway.[24]

On September 6, Czolgosz went to the exposition armed with a concealed .32 caliber Iver Johnson “Safety Automatic” revolver[25][26] he had purchased four days earlier.[27] He approached McKinley, who had been standing in a receiving line inside the Temple of Music, greeting the public for ten minutes. At 4:07 P.M., Czolgosz reached the front of the line. McKinley extended his hand. Czolgosz slapped it aside and shot the President in the abdomen twice, at point blank range: the first bullet ricocheted off a coat button and lodged in McKinley’s jacket; the other seriously wounded him in his stomach. McKinley died eight days later on September 14 of an infection which had spread from the wound.

Members of the crowd immediately attacked Czolgosz, as McKinley slumped backward. McKinley said, “Go easy on him, boys.”[28][29] The police struggled to keep the crowd off Czolgosz.[30] He was held in a cell at Buffalo’s 13th Precinct house at 346 Austin Street until he was moved to police headquarters.

SOURCES:

  1. https://en.wikipedia.org/wiki/Assassination_of_William_McKinley
  2. http://idnc.library.illinois.edu/cgi-bin/illinois?a=d&d=CHE19010914&e=——-en-20–1–txt-txIN——-#, Public Domain, https://commons.wikimedia.org/w/index.php?curid=41332897

 “They are still there” celebrates several re-visits and discoveries of MacNeil works made in 2019. This Presidents Day we look again at:

  1. “William McKinley” statue in Columbus, Ohio.

    The Statue of Wm. McKinley stands in front of Ohio Capitol looking out over the city of Columbus. I always marvel at MacNeil’s works all over the U.S. of A.

     

  2. The “Lincoln Lawyer” of Illinois

    Image from the Re-dedication Day of Lincoln Hall at University of Illinois in Champagne-Urbana in 2012.

     

     

     

    This Lincoln Hall image was on the Tee Shirts worn by student-guides on Feb 12, 2012 for the re-opening of the renovated Hall

  3. Washington Square in New York City. 

    General George Washington with Flags (U.S. and POW/MIA) ~ Washington Arch Greenwich, NYC (Photo courtesy of: Gibson Shell – 2011)

    In NYC MacNeil’s likeness of General Washington guards the rear flanks of the Washington Arch.

     

President McKinley was assassinated at the 1902 Pan American Exposition in Buffalo, NY.  MacNeil was an exhibitor and sculpted the Award medal for that Worlds Fair.  He later was awarded the commission for this McKinley Monument at the Ohio Capitol Square in Columbus.

McKinley detail ~ foot of “Industry” – a Blacksmith.

Industry and and his youthful student – allegorical figures in the McKinley grouping.

McKinley quote after taking office in 1900.

“Prosperity” and her her understudy, “Peace”

 

 

Here are three old Photos of the McKinley Monument

Early 1900s Postcard of McKinley Monument.

McKinley grouping in front of Ohio Capitol.

MacNeil’s 1915 “Lincoln” in Lincoln Hall

The restored East Foyer of Lincoln Hall with its gilted vaulted ceiling and columns makes a dramatic setting for Hermon A. MacNeil’s bust of Abrabam Lincoln as the famed prairie lawyer who left Illinois to lead the nation through the War to preserve the Union and the succession South states.

Another of Hermon MacNeil’s “Lincoln Lawyer” was found at the Rushville (Illinois) Public Library. The happy webmaster was pleased to see it and meet the Library staff.  I am sure you recognize Abe Lincoln.  Well the guy smilin’ on the right is me, Dan Leininger [the “happy webmaster of  HAM (https://hermonatkinsmacneil.com/)

MacNeil of Barra tartan

 

 

By The original uploader was TonyTheTiger at English Wikipedia.(Original text: en:User:TonyTheTiger) – Self-photographed, CC BY-SA 3.0,
https://commons.wikimedia.org/w/index.php?curid=3588095

Carrie as a young girl. Ink drawn portrait by HW Bucknell in 1892 for her parents.

CHRISTMAS DAY

1895

They had a wedding reception in the Marquette Building in the Studio of Hermon Atkins MacNeil.

The Brooks of Winnetka, Illinois hosted the reception for Carol (“Carrie” to her friends) and the “happiest man in the world” – her new husband – “Hermon Atkins MacNeil”. 

Carrie’s father and mother, Alden F. and Ellen T. (nee, Woodworth) Brooks 
lived at 518 Elder Lane, Winnetka. He was a portrait painter for whom President William McKinley once sat.  Hermon would later sculpt the memorial statue of William McKinley at the Columbus, Ohio Capitol Building. McKinley was assassinated in 1901 at the Buffalo Worlds Fair. 

Carrie preferred sculpture to painting, though she grew up in her parents home with a great awareness and appreciation of the arts and Chicago community, and the Chicago Art Institute.

A 2019 photo of the home where Carrie Brooks parents lived when he died at 93 years of age in 1932. The home still stands  at 436 Elder Lane and Woodlawn avenue, in the north shore Chicago suburb of Winnetka, Illinois. The neighborhood appears very original and well maintained even today. They lived elsewhere in Hyde Park when they hosted the wedding reception for Carrie and Hermon 124 years ago.

Happy Christmas Memories

Merry Christmas

and

Happy Anniversary 

( X 124) to the MacNeil Sculptor Couple

our favorite Christmas Coupe Today!

 

Invitation below…

Here is the printed invitation for the Brook’s Christmas Day reception for Carol (Carrie) and Hermon MacNeil at the Marquette Building

“The Pony Express” heads West into the setting sun. MacNeil loved to study the site and setting for his works so he could place them into their unique Horizon as this dramatic shot highlights.

On first viewing, the sculptures of Hermon MacNeil express amazing beauty and gracefulness.  A second and third viewing reveals MacNeil’s careful inclusion of unique details connected to the subjects, objects and historical periods that he sought to portray in bronze and stone.

In sculpting a befitting monument to the “Pony Express” in 1940, Hermon MacNeil showed his abiding attention to detail.  Studying this “last” public monument reveals a series of actions he completed in preparing and perfecting his final product:

  • He found a suitable “stallion” as his model.
    • The charger he found was a rescued “wild mustang” from the plains of the North Dakota (Teddy Roosevelt country).  The steed was used as a rodeo “bucking bronco” and named after the Mexican outlaw, Poncho Villa.
    • Hermon referred to the animal as “glorious horse flesh”. This was the musculature that he immortalized in bronze. For the last 80 years  it’s been heading West out of downtown Saint Joseph, Missouri, just a few blocks from the Pony Express Station of the 1860’s.
    • The back story of “Poncho Villa” this outlaw mustang from North Dakota by way Madison Square Gardens is a prime example
  • He became friends with a physician nicknamed the “cowboy doctor”.
    • The man was Dr. S. Meredith Strong of Flushing, NY, a neighboring community to College Point where MacNeil lived and had his studio.
    • Dr. Strong was devoted to the preservation of “wild mustangs” from the prairies.
    • Strong was president of the American Rough Riders, “an organization devoted to the preservation of the horse, and especially the native wild pony.”
  • MacNeil studied the history of the Pony Express.
    • He did this by visiting St. Joseph, Missouri where the Pony Express Museum is located and by evaluating the site designated for the monument.
    • He also had Dr. Strong’s interest, knowledge and fervor to instruct him.

Theatrically, MacNeil had his own fascination fueled by attending the “Buffalo Bill Wild West Show” at the Chicago Worlds Fair (Columbian Exposition).  Buffalo Bill Cody included a re-enactment of a Pony Express ride as a regular dramatization during his shows.  He himself claimed to be a rider, though some dispute that assertion.  

  • The photos below show the actual clay model taken from his studio after his death in 1947.  The broken forelegs and head show the wire structure that the clay was modeled on.
  • I took these photos in the archives of the Swope Art Museum in Terre Haute, IN. MacNeil built a wire frame on which he constructed his clay model of the horse.
  • Swope Art Museum has remnants of H. A. MacNeil’s small clay models of larger statues salvaged from his studio and storage after his death.
  • Wire frames were a standard practice for constructing clay statue figures of larger proportions. 
  • FOR EXAMPLE: His Manuelito Statue in Gallup, NM was made in 1895 of cement over a wire frame.  It has been restored. 
  • NOTE: I have yet to visit Gallup and see the restored Manuelito statue.

MacNeil was a natural talent as an artist.  His training helped him perfect those innate skills.  By their nature sculptors must be talented artists.  Those skills start early in life.  They include

  • a visual attention to detail. 
  • Visual imaging and proportions.
  • an ability to capture and reproduce the essence of a object and form. 

From there the  process becomes quite meticulous. Phases involved can be described as including:

Model of a Pony Express saddle similar to Dr. Strong’s collection and what MacNeil depicted on his Monument. (Compare actual photo of MacNeil’s work below:)

  • detailed observation;
  • research;
  • historical accuracy;
  • design and balance;
  • construction;
  • inclusion of details and symbols.

The Long Island Star heralded “Poncho Villa”,  his rescuer, Dr. Strong, and Hermon MacNeil’s mastery of sculptural detail in the following narration:

“Watch Out. Pard!     Dr. Strong acquired Poncho from the rodeo after it broke up in New York, just as he did his last “pet.”  The outlaw put six men in the hospital before the physician was able to gain its confidence after months of patient work.  But even today the pony is a one-man animal.  He is a gentle as a lamb when the doctor is around, but let a stranger come near – if you don’t care what happens to the stranger! 

            Fittingly enough for a horse that modeled for the Pony Express statue, Poncho has red, white and blue markings.  The gun, holster, spurs, belt and other accessories sculptured in the replica are all relics which Dr. Strong brought from New Mexico.”   (From the Long Island Star, Tuesday November 19, 1940)

Details of the mail bags as MacNeil modeled them after Dr. Strong’s authentic Pony Express gear from the 1930’s.

Related posts:

Here are my two favorite young Chicagoans coming back from a theater performance of “Hamilton”. They stopped and posed below the second panel.

In 2019 the Marquette Building construction has the four bas relief panels (above the doors) protected under scaffolding while the edifice is under repair.  >—–>>

Hermon MacNeil’s first studio home was  in the Marquette Building of Chicago in 1895. His wedding reception for him and Carol Brooks was hosted there on Christmas Day eve 1895.

From that same location, his Four Bronze Panels over the front doors have been telling the story of Father Marquette for 124 years.  They welcome visitors into the Marquette Building, just as the Native Americans met and welcomed the European explorers to Northwest Territory.  The Native Americans who lived in these regions include the Ojibwa, Huron, Ottowa, Illini, Potawatomi, and Menominee.  MacNeil placed these tribes on the Marquette Memorial Statue on Douglas Avenue in 1926.

MacNeil carved the tribal names in the Marquette Memorial of 1926. His moccasins are exquisite in detail, looking life-like.

 [(These Panels were refurbished to their original bronze luster in 2009.) CLICK HERE]

“Over the doors of the main entrance are panels of bronze, designed and executed by Mr. Herman A. MacNeil, illustrating incidents in the life of Pere Marquette in his explorations of the Mississippi River and the state of Illinois…The inscriptions below are panels taken from Marquette’s diary.” 
Architectural Reviewer, July 1897

Before the remodeling the panels look like this. MacNeil’s bronze panels of 1895.

MacArthur Foundation began restorations in 2001.

Marquette Building at 140 S. Dearborn Ave in Chicago with four MacNeil bronze sculptures above the entry doors

The John D. and Catherine T. MacArthur Foundation began ongoing restoration phases after acquiring the structure in 2001.

These phases include the following:

In 2001, the John D. and Catherine T. MacArthur Foundation, its current owners, began a multi-year renovation.[18] The restoration to the exterior proceeded in two phases: reconstructing the cornice and replacing the 17th story windows to match the original windows; and cleaning and restoring the masonry and restoring the remainder of the windows.[8][19] Restoration architect Thomas “Gunny” Harboe directed this work.

The Foundation has invested in multiple restorations.

The Marquette and Joliette faces of MacNeil’s 1899 bronze reliefs at the Marquette building in the Loop resemble those likenesses he placed in his larger statue grouping on Douglas Avenue in 1926.

The Foundation website describes the History of the Panels as follows:   “Herman (sic: Hermon) MacNeil was a trained sculptor who worked on sculptures for the 1893 World’s Fair. After commissioning MacNeil for the exterior bronzes, Aldis wrote to Peter Brooks, “McNeil’s [sic] panels are being placed in position. It is greatly to their and his credit that these bas-reliefs have won for him the Roman [Reinhart] Fellowship. The Commission, choosing him as the best of the very young men…The young sculptor was married on Christmas Day, and sailed for Rome on Wednesday, and is, on the whole, the most happy young man I know. He is very grateful to the owners of the Marquette Building.” CLICK HERE

MacNeil modeled Black Pipe after meeting him in Buffalo Bill’s Wild West Show at the Chicago Worlds Fair.

 

 

The fine features of the child contract those of the weathered warriors.

 

 

 

 

 

 

 

 

 

https://lh3.googleusercontent.com/p/AF1QipMoXrdAoOT7PRD-QcwjCC96VrRg_aDC7F7aay66=s1600-w1600

Mary Lawrence was a talented sculptor.  All that is left of her work in the 1893 World’s Fair are the pictures, as depicted below.

“Christopher Columbus” by Mary Lawrence at the World’s Columbian Exposition, 1893, Chicago, Illinois

She became one of The White Rabbits along with Carol (Carrie) Brooks (MacNeil) and numerous other “women assistants” to Lorado Taft and other male sculptors.  They helped create “the White City” as the 1893 Chicago Worlds Fair was known. The material was temporary, made of staff plaster, and modeled on wooden and medal frameworks.  The elegance of the White City inspired 

Lawrence was a pupil of Augustus Saint Gaudens at the Art Students League of New York for five years.  In that period, she proved her skills many times over. 

In the Chicago exhibition, her work with the White Rabbits was overpowered by an accomplishment central to the Court of Honor.

Saint Gaudens’ recommended that she create the theme statue of the exposition, namely, the monumental center-piece of Christopher Columbus. 1 This work was to be placed in the Court of Honor at the entrance of the Administration Building. 

Frank Millet, who served as Director of Decorations, resented that a woman “had been selected, and seemed to bear her some personal animus as well.” 2   Seeing the piece put on such a prominent place, he ordered her to move the statue to the plaza of the railroad station. Lawrence complied even though Charles F. McKim, architect for Exposition, had told to place the work at that location.  His authority to do so was second only to Daniel Burnham, the Chief Coordinating Architect.

She approached McKim a second time to tell him of the change.  He had the statue returned to the Court of Honor at the Administration Building entrance.  McKim worked with Augustus Saint Gaudens on many projects.  He was introduced to Mary Lawrence by Saint Gaudens as they collaborated in New York on early plans for the Exposition in Chicago.

Though McKim was twenty years senior to Mary Lawrence, Bruce Wilkinson describes their relationship in this way:

“Her good looks and high spirits made her popular with the young and the not so young.  Charles Follen McKim, whose second wife had died tragically after one short idyllic year, fell in love with her and remained a little so all the rest of his crowded life.”

Kim, Burnham, and especially, Lorado Taft were open to women as students and sculptors. Their show of support in the White Rabbitsdecision advanced opportunities for women for years to come. 

Janet Scudder (1869-1940) was one of Taft’s students who described her own the joy filled elation and that of her White-Rabbit-sisters in the following way:

“Janet describes working under Loredo as “That wonderful year! Filled with work, filled with accomplishment and filled with what was considered in those days a very fat salary!”[2] The salary was so large that, upon being paid, “We rushed back to our rooms at the hotel, opened the envelopes and poured out the five-dollar bills (for some reason we were paid our hundred and fifty dollars in five-dollar bills,) and carpeted the floor with them. We wanted to see what it felt like to walk on money.” [3] 3

The Joy of the “White Rabbits” changed their lives and the future of sculpture.

Women and men working on figures for the East entrance to the Horticulture Building in Taft’s section of the World’s Columbian Exposition. Chicago History Museum Images. SOURCE: [ At: https://discoverherstory.wordpress.com/2018/01/08/white-rabbits-american-women-sculptors/ on March 1, 2019.]

 

Footnotes:

  1. White City

    Most of the buildings of the fair were designed in the neoclassical architecture style. The area at the Court of Honor was known as The White City. Façades were made not of stone, but of a mixture of plaster, cement, and jute fiber called staff, which was painted white, giving the buildings their “gleam”. Architecture critics derided the structures as “decorated sheds”. The buildings were clad in white stucco, which, in comparison to the tenements of Chicago, seemed illuminated. It was also called the White City because of the extensive use of street lights, which made the boulevards and buildings usable at night.
  2. Bruce Wilkinson, Uncommon Clay: The Life and Works of Augustus Saint Gaudens. Harcourt Brace Jovanovich, Publishers, Orlando, Florida, 1985, p. 249
  3. Ibid.
  4. Janet Scudder: “White Rabbits: American Women Sculptors”. [ At: https://discoverherstory.wordpress.com/2018/01/08/white-rabbits-american-women-sculptors/ on March 1, 2019.]

 

WHAT YOU FIND HERE.

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

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WE DESIRE YOUR DIGITAL PHOTOS – Suggestions

1. Take digital photos of the entire work from several angles, including the surroundings.
2. Take close up photos of details that capture your imagination.
3. Look for MacNeil’s signature, often on bronze works. Photograph it too! See examples above.
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