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 ???

Search Results for "chief manuelito"

Hermon MacNeil sculpted this bust of Dwight L. Moody a century ago during the Flu Pandemic of 1919.   

One hundred years later (In 2019), I visited that MacNeil work in Sage Chapel on site at the Moody’s Northfield Seminary

The photo below records that visit.

Dwight L. Moody by Hermon MacNeil (1919). The century-old work rests Sage Chapel on site at the Moody’s Northfield Seminary. 

 

 

 

 

Click HERE for: Our first Discovery of Hermon MacNeil’s bronze bust of Evangelist Dwight L. Moody (1920) ~ “We Found It, Uncle Hermon!”

On June 6, 1919, Northfield paid Honors to Moody at the 40th Anniversary Celebration of Founder’s Day in East Northfield, Mass. 

 The  four days of celebration included:

  • A Reception at the home of Principal C. E. Dickerson, Tuesday evening, marked the close of the commencement exercises and celebration of the 40th anniversary of the funding of Northfield Seminary. 
  • The Reunion of nearly five hundred former students and friends returned to Northfield.
  • The occasion honored the founder, Dwight L. Moody.
  • Moody’s youngest granddaughter, Margaret Moody, unveiled the portrait bust by pulling the draping off of her grandfather’s bronze likeness. 
  • Little Margaret is the daughter of  Chaplain Paul D. Moody, son of D. L. Moody and Head of Chaplains for the Allied Expeditionary Force (A.E.F).  
  • The bust is the gift of the alumnae and has graced Sage Memorial Chapel for over a century. 
  • Hermon MacNeil of New York sculpted the bust from a pencil drawing he made of Mr. Moody when the evangelist was in the vigor of his powers and from a death mask provided by the school.
  • MacNeil made the sketches at The Chicago World’s Fair of 1893. Moody organized  Sunday worship services held in the stadium built by William Cody for his “Buffalo Bill’s Wild West Show.” NO SUNDAY SHOWS were allowed at the Fair.  So, Moody rented it from Cody on Sundays and packed it with fair attenders and local pastors and their congregationschurch
  • It was presented by Mrs. Helen M. Williams of New York City, President of the board of trustees of the Northfield schools.  Another token of the esteem in which Northfield graduates hold their alma mater was the gift of $600 from the class of 1914.

This digital file of the article from the September 1919 issue of the Northfield Alumnae Chronicle is a treasure trove of background information.

  1. The bust was a gift of the Alumnae Association. Many small donations.
  2. Johnson’s presentation speech cites conversations with MacNeil. It is a wonderful piece of Northfield history and affection for Mr. Moody 20 years after his death. .
  3. MacNeil attended one of D. L. Moody’s Meetings in Chicago ( MacNeil was there between 1890-95).
  4. MacNeil made a hasty sketch of Moody at that meeting. He kept his sketch for years. 
  5. MacNeil created the bust of Moody and afterward told the alumnae (Mrs. Johnson (?)) the story of making the sketch.
  6. The bust was presented at a service in Sage Chapel.

 


 

 

 

 

 

 

 

 

 

 

 

 

 

1919Jun7-RDC-MoodyBust

 

SOURCES:

  1. Lost New England (retrieved 4-17-2021) [https://lostnewengland.com/category/massachusetts/northfield-massachusetts/]
    East Northfield, Mass. June 6, (1919)
  2. ROCHESTER DEMOCRAT AND CHRONICLE.  Saturday, June 7, 1919

 

Hermon MacNeil often made Christmas Cards that  featured his own drawings and studio images.

MacNeil Christmas card from 1922.

Here’s a Card from 1922  ==>>

This pencil sketch proclaiming “Merry Christmas 1922” appears reminiscent of MacNeil’s “Sun Vow”

In that composition, a Native Chief, possibly Sioux, coaches a young warrior through a rite of passage — shooting an arrow into the of the sun.

In MacNeil’s 1922 Christmas drawing, a similar pair of figures wave a banner of seasons greetings.  Their presence seems a reprise of the Sun Vow sculpture.

While that was over a century ago, here’s what we can know  today:

  • We know being an artist, MacNeil often carried and kept sketchbooks. 
  • We know he would sit in Buffalo Bill’s Wild West Show of the 1893 Chicago World’s Fair with his sketchbook.
  • We know he sketched D. L Moody at an interdenominational Sunday Worship in Wild Bill’s Arena (since no Sunday shows were allowed and Moody rented the venue)
  • We know he traveled, sketched and sculpted on his trip to the Southwest territories in 1895 (New Mexico, Arizona, Utah and Colorado). 
  • We know he formed clay and plaster images there; and he shipped many back to Chicago.
  • We know that his memory of Native images dominated his sculptures for the next ten years.

I suspect that the idea for this card sprang up from the artist’s visual memory, perhaps, revived from an old sketchbook.  A dusty record of images that he first saw three decades earlier at the Worlds Columbian Exposition of 1893.

Here’s More from this website:

“Native American Themes: His first introduction to native subjects came through Buffalo Bill’s Wild West Show. During the 1893 Worlds Fair, Buffalo Bill’s troupe performed in a carnival setting outside the main entrance. Fascinated, MacNeil’s artist-eye and imagination took every opportunity to see the show and sketch the ceremonies and rituals of Indian life — MacNeil often carried a sketch book. He latter befriended Black Pipe, a Sioux warrior from the show, who he found down-and-out on the Chicago streets after the carnival midways of the Fair had  closed.  MacNeil invited Black Pipe to model for him and assist in studio labors, which he did for over a year.  Inspired by these native subjects and encouraged by Edward Everett Ayers, MacNeil found a respect for this vanishing Native culture and made subsequent trips to the southwest.  When the Marquette Building was constructed, MacNeil was awarded a commission to complete Four Bas Relief Panels  of over the main entrance.  His work depicts four scenes from Marquette’s trip through the Great Lakes region.”

“In the summer of 1895, along with Hamlin Garland (a writer) and C. F. Browne (a painter), he traveled to the four-corners territories (now, New Mexico, Arizona, Colorado, and Utah) seeing American Indians (Navajo, and Moqui — now Hopi) in their changing cultural element on various reservations.  While there, he was asked to sculpt, out of available materials, a likeness of Chief Manuelito. The Navajo warrior had died in despair after being imprisoned for four years as a renegade by the U. S. Government (Col. Kit Carson) twenty-five years earlier.  Manuelito’s likeness (click here), made of available materials, brought tears to his widow’s eyes, and remains an object of cultural pride in Gallup, New Mexico to this day.” SOURCE: Click HERE

The Hamlin Garland Memorial Highway ~

Brown County, South Dakota

Hamlin Garland https://mypoeticside.com/wp-content/uploads/gallery-images/e6845fc.jpeg 

Hamlin Garland Highway in Brown County South Dakota.
[Credit: Hamlin Garland Society]

 

 

​In June 1936, the Brown County Commissioners named a section of Brown County Highway 11, for a total of 10 miles, the “Hamlin Garland Memorial Highway.” This section travels past the homestead of Garland’s father, Richard, who homesteaded in 1881. In 1998, new signs were placed along this stretch of paved road noting the name of the highway. 

[ Hamlin Garland Society of Aberdeen, SD   http://www.garlandsociety.org/ ]

Hamlin Garland Highway in South Dakota.

GARLAND TOWNSHIP–This township was named after Hamlin Garland, a novelist, who lived in this area with his pioneer parents, Mr. and Mrs. Richard Garland.  The land south and west of Columbia [and Ordway] was immortalized by this writer in “Among the Corn Rows,” and “A Son of the Middle Border.”

SOURCE:  Information courtesy of Gene Aisenbrey ~ Hamlin Garland Society of Aberdeen, SD  Contact: garlandsociety@gmail.com      Copyright © 2015

Garland information on the web:

In 1895 HAMLIN GARLAND led Hermon MacNeil and Francis Brown to the four corners area (AZ, NM, CO, UT) to witness the Native American people and culture there.

  • Hamlin Garland Highway in South Dakota. [SOURCE:  Information courtesy of Gene Aisenbrey ~ Hamlin Garland Society of Aberdeen, SD ~ Contact: garlandsociety@gmail.com  Copyright © 2015 ]
  • Hamlin Garland Biography  (Wisconsin Authors and Their Works)

    • A Biography of three pages
    • One of Garland’s Grant Interviews with Julia Dent Grant (1826-1902) widow of General U. S. Grant
  • SD Historical Society: “Hamlin Garland’s South Dakota: History and Story” https://www.sdhspress.com/journal/south-dakota-history-9-3/hamlin-garlands-dakota-history-and-story/vol-09-no-3-hamlin-garlands-dakota.pdf
  • A brief Garland bio (Al Filreis)

~ A Poem by Hamlin Garland ~

“Do you fear the force of the wind,
The slash of the rain?
Go face them and fight them,
Be savage again.
Go hungry and cold like the wolf,
Go wade like the crane:
The palms of your hands will thicken,
The skin of your cheek will tan,
You’ll grow ragged and weary and swarthy,
But you’ll walk like a man!”

Their  adventure in 1895 led into Native settlements in Colorado, Arizona (Moqui, Navajo), New Mexico, and Utah:

  •  Hamlin Garland, led the tour to the southwest in the summer of 1895. MacNeil & Browne wanted to gain direct experience of American Indians to inform their art. What the trio found reflected in their respective painting, sculpture and writing.
  • 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.
  • Charles Francis Browne was a painter and friend (his room mate in Paris) who accompanied Hermon MacNeil and the author.
  • Edward Everett Ayers was an art patron to both MacNeil and Browne.  He had been a Civil War Calvary officer stationed in the southwestern United States.  He became a lumberman who made a fortune selling railroad ties and telephone poles. He urged MacNeil to travel to see the vanishing West of the American Indian.  He became an arts benefactor whose art collections are now housed by the Art Institute of Chicago, as well as, the Newberry Library.    His copy of MacNeil’s “Moqui Runner” still graces the Newberry Library.

Related Posts:

 

Rarest of the Rare!   A very rare Silver – Society of Medalists #3 – by ‘H. A. MacNeil’ (in lower right).

It is “Silver.”

Only twenty-five were minted in 1931.

In the summer of 1895, Hermon MacNeil traveled to the Southwest.  With Hamlin Garland and Charles Francis Browne, they journey by railroad to the four-corners region of New Mexico, Arizona, Colorado and Utah.

With Garland as guide the sculptor and the artist witnessed Native American culture first hand. They visited the Hopi and Navajo reservations immersed in Native American life. They saw the “Prayer for Rain” ~ the Snake Dance ceremony depicted here on the SOM #3.

The “Prayer for Rain” depicts the Moqui (Hopi) runner carrying the snakes to the river to activate the rain cycle of nature. [SOM #3 Reverse]

This Society of Medalists Issue #3, in Silver, by Hermon MacNeil is rare.  This silver “Beauty” is the only one I have seen in my ten years of “Searching for Uncle Hermon” and producing this website.

ONLY 25 were made in SILVER (99.9%).

The Silver issue of MacNeil’s medallion is among the rarest of the rare.  

Over sixty-times that number  were struck in  Bronze  (1,713).  Now nearly eight decades later, those are more common, but also rare and collectible.   [See pictured below — at the end of this article — this author’s collection of the varied Bronze patinas of S.O.M #3.]

The next year (1932), Frederick MacMonnies sculpted a medallion celebrating Charles A. Lindbergh historic flight.  250 of those medallions were struck in Silver.  That makes the Lindbergh issue ten times more common than MacNeil’s “Hopi”.  (10 X 25) — 

Silver minting of most SOM Issues quantities usually ranged from 50 to 125.  Most often 100 silver specimens were struck.  SO the 25 of the MACNEIL’S “Prayer for Rain” creations are twice as rare and up to 10 times as rare as other SOM Issues.

This, all Society of Medalists (SOM) in Silver can be considered rare.  However, this MacNeil piece is definitely “THE RAREST OF THE RARE!”

This images that MacNeil’s placed of the Obverse and Reverse had been burned in his visual memory in 1895.  They lived in his artist’s awareness for decades. It is no stretch to say that they inspired numerous sculptures and pieces that came out of his studio. 

“The Moqui Runner,” “The Primitive Chant,” were “living” in his mind when he first saw these scenes. Then, three decades later, he chose them for his own theme and design.  Thus, the 1931 Society of Medalists Issue #3 became his offering to this young series by American Sculptors.

The following are just a few of the sculptures and monuments, which re-capture some of the Native American culture and history first observed in this 1895 trip to the Hopi (Moqui) people.

By comparison, the SOM’s issued from:

  • 1930 to 1944. ~ struck 2X to 5X this quantity of SILVER medallions. 
  • 1945 to 1950. ~ those SOM silver issues were minted in quantities of 50 to 60.
  • 1950 to 1972. ~ NO silver medallions were struck. 
  • 1973 to 1979. ~ Silver medallions ranged from 140-200. 
  • No Silver coins were struck from 1980-1995
  • In 1995 the “Society of Medalists Series” closed production.

In 1931 design the the Society of Medalist medal #3, Hermon MacNeil chose to immortalize his memory of these images from 1895 in rare silver — 99.9% fine silver!

A Rare Beauty Indeed.   Hi Ho, Silver !

MacNeil Display MacNeil Medallion (front and reverse) in Center. Framed by 10 SOM #3 (Obverse & reverse) of varied patinas. SOURCE: Collection of Webmaster

 

 

 

 

 

 

SOURCES:

Information taken from the six page list entitled: Medal Collectors of America; Checklist of “The Society of Medalists” Issues 1930 – Date. Originally written by D. Wayne Johnson with rights retained by him; used with permission.

His listing includes the original pricing supplied by Paul Bosco in the inaugural issue of the MCA’s publication “The Medal Cabinet” (Summer 2000) for the silver issues and Paul’s update values for the bronze pieces that appeared in the Spring/Summer 2002 edition of “The MCA Advisory.”

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.

Apr
26

A Brief Bio – H. A. MacNeil

Posted by: | Comments (1)

Hermon Atkins MacNeil (about the time of his marriage to Carol Brooks on Christmas Day 1895)

Hermon Atkins MacNeil, American sculptor, (February 27, 1866 – October 2, 1947) was most influential in winning worldwide recognition of the American Indian as a valid artistic focus in American and European Art. His statues depicting the Native American themes became an introduction for Americans and Europeans to a ‘truly American’ subject matter for the arts. His many later monument sculptures still grace public spaces in dozens of cities across the United States.  (Hot-links on this website will take you there — virtually)

Early Life and Career:  Born in Everett (Chelsea, Malden) Massachusetts on his parent’s farm, MacNeil received his formal training in the arts at the Normal Art School in Boston (now Mass Art) in 1886. Upon graduation in 1886 he moved to Cornell, New York where he became an instructor in industrial art and modeling at Cornell University from 1886 to 1888. Seeking continued education, he followed the path of many sculptors/artists of his day and left for study and experience in Europe.  Settling in Paris, he studied at the Ecole des Beaux-Arts and at the Julien Academy as a pupil of Henri M. Chapu and Alexandre Falguière.

2016 MacNeil Medallion marking the 150th Anniversary the birth of Hermon A. MacNeil. Commissioned by our webmaster, these numbered medals are available on eBay.

Chicago:  In 1891, he was back in the United States working with Frederick MacMonnies assisting on the architectural sculptures for the World’s Columbian Exposition of 1893 in Chicago. With Lorado Taft, sculpture director, he prepared preliminary sketches and was asked to craft several sculptures for the Electricity Building.   Afterward, he settled in Chicago.  He taught at the Art Institute of Chicago and opened a studio, shared with artist Charles F. Browne, where he continued developing his work depicting the American Indian.

Native American Themes: His first introduction to native subjects came through Buffalo Bill’s Wild West Show. During the 1893 Worlds Fair, Buffalo Bill’s troupe performed in a carnival setting outside the main entrance. Fascinated, MacNeil’s artist-eye and imagination took every opportunity to see the show and sketch the ceremonies and rituals of Indian life — MacNeil often carried a sketch book. He latter befriended Black Pipe, a Sioux warrior from the show, who he found down-and-out on the Chicago streets after the carnival midways of the Fair had  closed.  MacNeil invited Black Pipe to model for him and assist in studio labors, which he did for over a year.  Inspired by these native subjects and encouraged by Edward Everett Ayers, MacNeil found a respect for this vanishing Native culture and made subsequent trips to the southwest.  When the Marquette Building was constructed, MacNeil was awarded a commission to complete Four Bas Relief Panels  of over the main entrance.  His work depicts four scenes from Marquette’s trip through the Great Lakes region. 

In the summer of 1895, along with Hamlin Garland (a writer) and C. F. Browne (a painter), he traveled to the four-corners territories (now, New Mexico, Arizona, Colorado, and Utah) seeing American Indians (Navajo, and Moqui — now Hopi) in their changing cultural element on various reservations.  While there, he was asked to sculpt, out of available materials, a likeness of Chief Manuelito. The Navajo warrior had died in despair after being imprisoned for four years as a renegade by the U. S. Government (Col. Kit Carson) twenty-five years earlier.  Manuelito’s likeness (click here), made of available materials, brought tears to his widow’s eyes, and remains an object of cultural pride in Gallup, New Mexico to this day. 

Rinehart Prize. In December,  he received news that he had been named as recipient of the Rinehart Roman Scholarship for study in Rome.  Newspapers such as the Nov. 25, 1895 Chicago Tribune (CLICK HERE), and the Dec. 22, 1895 -New York Sun, (CLICK HERE) (columns 5 & 6), contained the news of the selection of this 29 year-old western artist to receive the Prix Rome, namely, the Rinehart Roman Scholarship. The three sculptors on the committee that selected MacNeil for the  award were the ‘giants’ among American sculptors of the 19th century.  The Rinehart Roman committee included Augustus Saint Gaudens, John Quincy Adams Ward, and Daniel Chester French

Marriage: On Christmas Day 1895, in Chicago, he married Carol (Carrie) Louise Brooks, also a sculptor (see their marriage record below). Following their wedding, the pair left for Rome, passing three years there (1896-1899) and eventually spend a fourth year in Paris where their first son, Claude, was born.  During those years they studied studied sculpture together under the same masters and shared the income of Hermon’s Rinehart scholarship. (Carol had also studied sculpture with both Lorado Taft and Frederick William MacMonnies).

Rome: While living in Rome from 1896-99, Hermon MacNeil made his studio in the Villa dell’ Aurora. There he put into bronze several myths and dances of the Moqui (Hopi) Indian tribes from his visits there in 1895. His first creation theReturn of the Snakes’, depicted a nude Indian running through the prickly-pear cactus carrying two handfuls of rattlesnakes. (1897 “The Moqui Runner” Modeled 1896, Cast 1897).  This Indian priest, having used the snakes in a tribal ceremony to pray for rain to save the crops, is running down the mesa to free the snakes so that they may convey the prayers for rain to heaven.  (The concept later became the subject of  his 1931 Society of Medalists Commemorative (Issue #3). During his time in Rome he also sculpted The Sun Vow,’ the piece for which he became most famous and most often remembered.  There in the hallowed cultural dominance of millennia of Geeco-Roman art, MacNeil chose to give sculptural life to his memories of the American Native West. 
 
American Sculptor:  At the turn of the century MacNeil was back in the states, bringing with him his fame from achievements in Europe and growing recognition in the United. States. Settling in New York City, Queens, College Point, he build a home and studio.  For the next five decades he focused on the many commissions he received for exhibitions throughout the states as well as private sales of his works.
Expositions:
His handy works were entered into the Pan-American Exposition in Buffalo (1901); the Charleston Exposition in South Carolina (1902); the Louisiana Purchase Exposition in St. Louis (1904); the Lewis and Clark Exposition in Portland, Oregon (1905); and the Pan-Pacific Exposition in San Francisco (1915).  
Coins & Medals:
He sculpted the Pan-American Exposition Medal (1901), the Standing Liberty Quarter (1916), and the Society of Medalists #3 (Prayer for Rain, 1931).  
Buildings & Monuments:  
He made many building sculptures for these expositions, a few of which still remain.  For the 1904 Fair he worked with architect Case Gilbert on the Palace of Fine Arts (now the home of the Saint Louis Art Museum).  It contains three of his bas relief panels above the doors.  Decades later, Gilbert, had MacNeil sculpt the East Pediment of the U. S. Supreme Court Building where Moses is the center of 11 figures.  Other public buildings bearing his works include the Connecticut Capitol (six statues), the Missouri Capitol (dozens of figures in a one hundred foot stone frieze), the Cook County Court House (two pairs of figures) and Marquette Buildings (four bronze panels per the entrances).  The Pony Express statue in Saint Joseph Missouri (1940) was probably his last work completed in his 74 year of life.

“The Pony Express” (1940) by H. A. MacNeil; St. Joseph, MO (photo by Dan Leininger)

 
A highly successful and creative sculptor/artist, MacNeil died at age eighty-one in his home/studio on Long Island Sound where he had worked for forty-seven years.
 
EXPLORE this Website:  

Launched in April 2010, this Gallery celebrates Hermon Atkins MacNeil, American sculptor. Trained in the Beaux Arts School of Paris, he led a generation of American sculptors to capture many fading Native American images in the realism of this classic style. He designed and sculpted for World’s Fairs, public monuments (see links below), coins, and buildings across to country.
We, here at HermonAtkinsMacNeil.com, celebrate his work daily.
We have designated each February as “MacNeil Month”  (two dozen examples) to honor his birth.

Enjoy over 100 stories of H. A. MacNeil’s work and life here, on-site, in your area, on vacation, wherever…

  • — Google Maps show location of sculptures!
  • — Click on list of “Public Sculptures of H.A.MacNeil” to see photos.
  • — Study & Leave COMMENTS at the bottom of any Posting.
  • — All in one cyber-space you can Celebrate a lifetime of art

A list of over forty web links to “Sculptures of Hermon Atkins MacNeil” can be found (to your right) or at  https://hermonatkinsmacneil.com/.  

 
This page is adapted from the following sources:
  1. www.nygardgallery.com at:http://www.fada.com/browse_by_artist.html?gallery_no=26&artist=3522&bio=1 
  2. Holden, Jean Stansbury (October 1907). “The Sculptors MacNeil“. The World’s Work: A History of Our TimeXIV: 9403–9419.
  3. Hermon Atkins MacNeil –  Wikipedia.org
  4. Daniel Neil Leininger.  This website: https://hermonatkinsmacneil.com/   ]
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Comments (1)

WHAT YOU FIND HERE.

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
Hosting & Tech Support: Leiturgia Communications, Inc.           WATCH US GROW

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