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 1901 Pan-American Exposition ~Buffalo NY

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

Several sculptures of Hermon Atkins MacNeil are featured in a current exhibition at the Metropolitan Museum of Art in New York City continuing through April 13, 2014.  The show entitled “The American West in Bronze, 1850-1925”  contains three parts: Indians, wild animals, and cowboys.

A MacNeil "Sun Vow" sculpture housed in the Founder's gallery of the Reading Public Museum in Reading, PA

A MacNeil “Sun Vow” sculpture housed in the Founder’s gallery of the Reading Public Museum in Reading, PA

Another Chief of the Mulnomah

Another “Chief of the Mulnomah” was identified at Mount Vernon, Ohio in an August 2013 inquiry from Linnette Porter-Metler of the Mt. Vernon and Knox County Library Staff. The date ’03’ follows MacNeil’s signature.

Three MacNeil works of early Native American images are visible online in an 8 photo slide show of the exhibit. They are apparently part of the “Indians” segment of the show.  CLICK HERE for the link to this slide show.  The MacNeil works include The Chief of the Multnomah (slide #3 in left background); The Moqui Runner (slide #6 foreground); The Sun Vow (slide #6 right rear).  

The exhibit has received some criticism in a NY Times art review entitled  “Manifest Destiny at the Point of a Gun” by Ken Johnson.  The MacNeil pieces are specifically not mentioned in Johnson’s critique. 

(More on Ken Johnson’s comments in the another article.)

MacNeil's "Moqui Runner" at the Newberry Library (photo by webmaster - bkgd removed)

MacNeil’s “Moqui Runner” at the Reading Room of the Newberry Library  in Chicago. This piece is a gift of Edward Everett Ayer who encouraged and marketed 12 castings of this piece for MacNeil during his early years in Rome 1896-99.  (photo by Dan Leininger, webmaster – bkgd removed)

“The American West in Bronze, 1850-1925” continues through April 13 at the Metropolitan Museum of Art; 212-535-7710, metmuseum.org.

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

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

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

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

 

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

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

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

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

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

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

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

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

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

According to the Smithsonian Institute:

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

Gift of Maurice Kawashima in honor of Dr. Richard Wunder

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

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

Images of Hermon A. MacNeil’s sculpted medallion for the 1901 World’s Fair are as coveted today as they were 110 years ago. Here are three examples:

EXAMPLE #1 from 2010.

Below, a recent You Tube posting shares a trio of MacNeil’s beautiful Medals in Bronze, Silver and Gilt finishes. Thanks to Will of the American Association of Young Numismatists (AAYN) [See note #1 below], for making this video of these rare MacNeil medallions.   Thanks as well, to website contributor and friend, Gibson Shell of Kansas City for his alert eye in finding this first beautiful example.

Mellin's Food Company of Boston, a maker of 'baby formua', touts their wars with the MacNeil image at center stage of their ad. "Baby formula' was a radically new idea in 1901. Their product had to compete with mother's breast milk, an already accepted product with a much longer history. The Gold Medal from the Pan American Exposition gave their new product a greater recognition for quality and acceptance.

EXAMPLE #2 from 1901. 

Manufacturers were so proud of winning the Gold Medal at the Pan American Exhibition that they displayed it prominently on their advertisements.  Here in the ad below, the Mellin Food Company of Boston, a maker of ‘baby formula’, touts their wares with the MacNeil image at center stage of their ad. “Baby formula’ was a radically new idea in 1901. Their product had to compete with mother’s breast milk, an already accepted product with a much longer history. The Gold Medal from the Pan American Exposition gave their new product a greater recognition for quality and acceptance.

EXAMPLE #3 from 1901. 

Here is another Gold Medal winner. F. R. Pierson a horticulturist operating a nursery and greenhouse at Tarrytown-on-Hudson, N.Y., won Eight Gold Medals at the 1901 Buffalo World’s Fair.  His advertisement states that this is, “the largest number awarded any firm on the Flori-culture Department.”  The ad enumerates the company’s prize-winning selections of Rhododendrons, evergreens,  roses, cannas, bay trees, fig-leaf palms and hydrangeas.   AND of course it bears MacNeil’s Pan American Exposition Medallion prominently at the top corners of the advertisement. [CLICK ON IMAGE TO ENLARGE]

CLICK TO ENLARGE - The W. R. Pierson Company's advertisement offers another example of the esteem with which manufacturers and businesses held the Gold Medal competitions over a century ago.

MACNEIL’S MEDALS

These MacNeil sculpture medals were  made by the Gorham Manufacturing Company of Boston, a quality producer of fine silver since 1832.

CLOSE UP VIEWS. 

Pictured below are near-life-size images of Hermon A. MacNeil’s sculpture design for the Award Medals at the Pan American Exposition, held at Buffalo, NY in 1901.  All award medals were struck from the same design whether in Bronze, Silver or Gold. These below are silver medals.

MacNeil's sculpture design for the Award Medals at the Pan American Exposition, Buffalo, NY 1901 (front)

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

“PHYSICAL LIBERTY” 1904.

The buffalo image on the Obverse face of this medallion bears a resemblance to a MacNeil work he made  three years later. That larger-than-life sculpture at the 1904 World’s Fair in Saint Louis, Missouri  was known as “Physical Liberty”  (see below).  It stood at the top of the Cascade at that Exposition celebrating the 100th anniversary  of  the Louisiana Purchase. Ironically, MacNeil’s allegorical figure used Native American images to symbolize the vitality of American expansion westward. 

HISTORICAL IRONY?

A near arrogant sense of Manifest Destiny often accompanied such 19th Century concepts of American pride.  An inescapable irony today, in our own 21st Century, is that MacNeil and many of his contemporary sculptors placed such Native American images at the center stage of these World Fairs.  MacNeil’s embrace of Native American themes in his sculpting from 1895-1905 still offers us lessons in culture, anthropology and life values more than a century later. 

MORE HISTORY:

1.) For further irony read my previous stories of  the making of Hermon MacNeil’s 1895 sculpture representing Chief Manuelito of the Navajo or read history of this Chief of the Navajo starting here.

2.) William Wroth’s “Long Walk” to Bosque Redondo  also provides poignant insight into this period of the United States management of Native American peoples and the life of Chief Manuelito who was part of that “Long Walk” and signed the treaty of 1868 that sought to restore Navajo lands after the disastrous interventions of the US government.

3.) “The Long Walk”  A Ten (10) Part video story of the Navajo “Fearing Time” accounting atrocities against the Navajo people from 1863 to 1868.  Researched and produced with support of the George S. and Delores Dore’ Eccles Foundation and the Pacific Mountain Network.   Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8 Part 9Part 10.

4.)  “The Long Walk”   For a Navajo perspective view this video by Nanebah, whose great-great grandmother survived “The Long Walk”.

5.) “300 Miles – Or Long Walk Of The Navajo – Richard Stepp”  For a musical tribute with an ‘American Indian Movement’ perspective.

6.) Leslie Linthicum, staff writer for the Albuquerque Journal,  gives a delightful article, “Navajo Leader Stands Tall”.   It offers historical irony from our 21st Century on attitudes toward Native American culture  through her story of the ‘management’ and ‘preservation’ of MacNeil’s iconic statue of Chief Manuelito.

NOTE #1: 

The American Association of Young Numismatists (AAYN) is an association dedicated to educating and impassioning young people about the hobby of coin collecting. We hope our videos help spark your interest in numismatics.

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.

Webmaster: Daniel Neil Leininger ~ HAMacNeil@gmail.com
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WE DESIRE YOUR DIGITAL PHOTOS – Suggestions

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