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 "marquette building"

All of Hermon MacNeil’s Lifeworks

enshrine the PAST.

SO… What is the Future of the Past?

~  ~  ~  ~  ~  ~  ~  ~  ~  ~  ~  ~  ~  ~  ~  ~ ~

The Chicago Monuments Project

Throughout 2021 the Chicago Monuments Project  has been pursuing its Mission.  From over 500 public monuments in the City of Chicago, the Project has identified 41 for review related to the following issues:

  • Promoting narratives of white supremacy 
  • Presenting inaccurate and/or demeaning characterizations of American Indians 
  • Memorializing individuals with connections to racist acts, slavery, and genocide 
  • Presenting selective, over-simplified, one-sided views of history 
  • Not sufficiently including other stories, in particular those of women, people of color, and themes of labor, migration, and community building 
  • Creating tension between people who see value in these artworks and those who do not    [ Source: https://chicagomonuments.org/about ]

 

  The PAST is under REVIEW  


Hermon MacNeil’s

Marquette-Jolliet-Ilini Indian Memorial

is one of the 41 under review.

Webmaster, Dan Neil Leininger and Donna on their first visit to the Marquette – jolliet – Ilini monument at Marshall and Twenty-fourth Boulevard in Chicago.

A report of recommendations is expected to be released in

Summer of 2022

The Project created written introductions for each of the 41 pieces being reviewed.  MacNeil’s Jacques Marquette-Louis Jolliet Memorial is introduced as follows:

Title: Jacques Marquette-Louis Jolliet Memorial

Date: 1926

Artist:  Hermon Atkins MacNeil (1866-1947)

Location:  Marshall and 24th Blvd

Context:  As the first Europeans to explore and document the northern portion of the Mississippi, which included the river link from the Great Lakes to the Mississippi basin through what would become Chicago, French missionary Jacques Marquette and the Quebec-born cartographer Louis Jolliet, along with their Indian guides, are ubiquitous figures in the modern iconography of the founding of Chicago.

This imposing representation of Marquette and Jolliet, with a subservient American Indian at their side, was created by Hermon Atkins McNeil, the academically trained sculptor who contributed the relief sculptures of Marquette’s life to the extraordinary decorative cycle at the Marquette Building in thirty years earlier, in 1895.

Other representations of Marquette include the commemorative plaques near the site of the Damen Avenue Bridge (1930) and at the DuSable Bridge (1925), as well as on the northeast DuSable Bridge pylon (1928).

Source: Chicago Monuments Project (https://chicagomonuments.org/monuments/jacques-marquette-louis-jolliet-memorial) retrieved March 28, 2022


“Statues of Limitations:

     Jackson Healy, Staff Writer for the  The DePaulia  ~ The Student News Site of DePaul University offered an insightful article on

“Statues of limitations:

future of 41 monuments up in air

as Chicago reckons with its nation’s past”

On July 17, 2020, amid a nationwide racial reckoning triggered by the murder of George Floyd by former Minneapolis police officer Derek Chauvin, a violent clash between police and protesters broke out after the protesters attempted to topple the city’s statue of Christopher Columbus in Grant Park, resulting in 12 arrests and at least 18 injured officers.

One week later, the statue was “temporarily” removed at Mayor Lori Lightfoot’s discretion, and on August 12, the mayor’s office announced a citywide review of public monuments through what would become known as the Chicago Monuments Project.

The project consists of a 30-person advisory committee made up of city officials, artists, scholars, curators, architects and community leaders dedicated to assessing the city’s public works. The committee gathers input from community members and eventually will release a report with recommendations on how the city should handle its more controversial monuments, as well as a list of potential new monuments that could be commissioned.

[ For entire article CLICK HERE: ]

 

 

MacNeil’s depiction of Marquette has the priest with an inviting open right hand as his left hand holds out a crucifix above his heart.  Their (Ilini) Indian guide looks on in seeming fascination.

MacNeil’s Marquette-Jolliet-Illini Memorial

“Whether they’re made

of bronze or marble,

apparently not all of Chicago’s monuments

are set in stone.”

Statues of limitations

We eagerly await the Chicago Monument Project

report scheduled to be released Summer of 2022.

Recently, I procured a plaster casting  by

Hermon

Atkins

MacNeil

The work was a very early study dating back to the 1890’s.

The image re-appears as part of a larger sculpture entitled

‘Mother and

Papoose’

 

 

 

 

 

 

 

 


 

A bronze  casting of that later work was listed by

J. N. BARTFIELD GALLERIES

They state that:

According to the Roman Bronze Works ledger, Only two casts of Mother and Papoose were ever done, both—#1 and #2 on the same day: November 9, 1906. No other casts are known.  (Source: https://www.bartfield.com/  retrieved on 1-25-22)

This detail of the bronze ‘Mother & Papoose’ shows the similarity of the plaster model of 1894 and the bronze casting of 1906.

 

Of the Papoose model, MacNeil scholar and College Point author, James Haas, wrote the following:

“In the summer of 1895 [when MacNeil traveled in the Four Corners area] he modeled two dozen Indian-themed pieces. His subjects were Utes, Navajo, Acoma and Moqui Indians from which sprang his most famous work, Moqui Prayer for Rain.” Mother and Papoose appears to have been modeled by MacNeil while he was on this trip.

1892 0r 1894

Whether the Papoose plaster was made in 1892 or 1894 is in disagreement.   James Haas suggests the later date.

The Papoose is dated in Roman Numerals.  At first glance they could be read as:

MDCCCXCII  

But there is an additional “I” at the end of the hand engraved date on the crown of the papoose.  It could appear to be the other side of a letter ‘V’ which would offer an alternative reading of the Roman Numeral date as:

MDCCCXCIV

which changes the last digit to reads out as a 4 (IV) rather than a 2 (II).

The ‘1894’ reading of the date fits better into the known timeline of MacNeil’s life after the ending of the Chicago Worlds Fair — Worlds Columbian Exposition in 1893.

1892 Papoose by Hermon Atkins MacNeil

 

J. N. BARTFIELD GALLERIES 1

AMERICAN, WESTERN & SPORTING ART

Hermon Atkins MacNeil (1866-1947)

According to the Roman Bronze Works ledger, Only two casts of Mother and Papoose were ever done, both—#1 and #2 on the same day: November 9, 1906. No other casts are known. Of the model, MacNeil scholar, James Haas, wrote the following, “In the summer of 1895 [when MacNeil traveled in the Four Corners area] he modeled two dozen Indian-themed pieces. His subjects were Utes, Navajo, Acoma and Moqui Indians from which sprang his most famous work, Moqui Prayer for Rain.” Mother and Papoose appears to have been modeled by MacNeil while he was on this trip. A Massachusetts native, Hermon Atkins MacNeil studied in Boston, New York, and Paris before being asked to work on the World’s Columbian Exposition in Chicago in 1891. While there, MacNeil saw Buffalo Bill’s Wild West Show and was inspired to take his classical training to the American West. MacNeil’s bronzes of Native Americans, perhaps more than those of any other sculptor, portray majesty while preserving the individuality of the subject. The spirituality Macneil’s First Americans convey is expressed through lightness and solidity rather than other worldliness.

Hermon Atkins MacNeil

Mother and Papoose

Roman Bronze Works N.Y.

Cast N.1

16 1/2  inches high

 

Sources:

  1. J. N. BARTFIELD GALLERIES: AMERICAN, WESTERN & SPORTING ART.  Retrieved from  https://www.bartfield.com/   [On 1-25-22]

Related posts:

  1. Hermon MacNeil at the 1893 Columbian Exposition ~ ~ ~ THE CHICAGO YEARS ~ ~ (3) CHICAGO YEARS:  Partners and Colleagues When Hermon MacNeil came home to the…
  2. 123 Year old Bas Relief of “Black Pipe The Sioux at Six Teen Years” has been reported to www.HermonAtkinsMacNeil.com (3) BLACK PIPE in 14 stories    A never before seen or documented…
  3. MacNeil-Brooks Wedding Reception – Christmas Day 1895 (3) One Hundred and twenty-three years (123) ago, Hermon Atkins MacNeil…
  4. Charles Francis Browne … MacNeil … Garland ~ Part Two (3) A recent post of Aug 13, 2021, highlighted a hidden…
  5. “Chicago Sculpture in the Loop” features Hermon A. MacNeil’s Work at Marquette Building (2) Gregory H. Jenkins has posted stories of the Marquette Bronze…
  6. ~ ~ ~ “The Most Happy Young Man I Know” ~ ~ ~ ~ ~ ~ ~ Hermon A. MacNeil ~ Success & Marriage! (2) 1895 Hermon Atkins MacNeil, American Sculptor (1866-1947) MacNeil’s bronze of…
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HERMON ATKINS MACNEIL

1945 Bust of Hermon MacNeil by Jo Davidson

Photo from ~1945 at MacNeil Cabin in Vermont

TRANSITIONS  

On this day seventy-four years ago, Hermon Atkins MacNeil died at his College Point Studio on October 2, 1947. 

The Photo at right (taken at the MacNeil Cabin in Vermont) and the Bust by Jo Davidson) both date from about 1945, just two years before his death.

The website  CHICAGO LOOP.ORG  celebrates architecture in the Windy City.  They tell the MacNeil story this way: 1

“Unable to transition from his Beaux Arts training to a more “modern” style, he had not had a major commission for nearly 15 years. 1 When he died, the contents of the studio was “hauled out to the dump” (where, much of the collection was salvaged by neighbor, illustrator John A. Coughlin who later donated it to the Smithsonian Institution.)  It hadn’t always been that way.” [See Note 1 Below]  http://chicagosculptureintheloop.blogspot.com/2012/01/hermon-atkins-macneil.html

One of several “Black Pipe” modelings that MacNeil sculpted. ~1894

They continue to say: “In 1891, 25 year-old MacNeil came West to Chicago.  Where he assisted Philip Martiny with sculpture at the Electricity Building at the World’s Columbian Exposition (World’s Columbian Exposition, 1893).  And, where, on the Midway, he met Black Pipe, an Ogala Sioux, performing at Buffalo Bill’s Wild West Show.  Native Americans and their culture became the inspiration for MacNeil’s art for years to come.  By late 1895 he was on his way to Monument Valley  with Hamlin Garland and C.F. Browne — after working with Edward Kemeys at the Marquette (and no doubt hearing stories of Kemeys Wyoming adventures some 20 years earlier).  The travels West were just the beginning. 

On Christmas Day 1895 after winning the Prixe de Rome, he married Carol (Carrie) Brooks (one of Lorado Taft’s “White Rabbits  – and a sculptor in her own right”).   They sailed to Europe to take up three years in residence at the American Academy in Rome.   And re-entered the Ecole des Beaux Arts in 1900.  By 1901 he and Carol (with their two children) returned to America and established their studio in College Point on Long Island.  With an entire career before them.

To quote Chicago Architecture, “National in scope, Beaux Arts in inspiration, MacNeil returned to Chicago in 1909, briefly, for the Cook County Seal Commission.”

Hermon MacNeil ~ Seal of Cook County on the Courthouse ~ 1908

But my favorite remains his Four Panels of Father Marquette life scuplted in 1895 in Chicago.  “Where inspiration, youth, opportunity, and a beautiful, capable wife converged with the past and the future —

at the Marquette Building.”

Panel 4 – “The de Profundis was intoned … Fr. Marquette’s coffin carried.

Black Pipe, Sioux warrior from Buffalo Bill’s Wild West Show, stranded after the 1893 World’s Fair closed. MacNeil took him in to his studio after he was desolate in Chicago.

The man front and center is Black Pipe.  (See detail at right). 

He is MacNeil’s model for the Ogalla Sioux Warrior memorialized at 140 South Dearborn Street.  Bearing the coffin of Father Marquette

See the entire collection of  Marquette photos at the CHICAGO LOOP.ORG

Originally Posted by chicagoandpointsnorth@gmail.com

Black Pipe lived at MacNeil’s studio, modeled for him, and worked as a gardener and assisted in tasks.

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

NOTE 1:

  1.  The comment Unable to transition from his Beaux Arts training to a more “modern” style, he had not had a major commission for nearly 15 years.”  is not entirely accurate.  The “15 years” comment ignores the following:  1) two statues (Alfred H. Terry and John Sedgwick) on Connecticut Capitol building in 1934;  2) the statue of George Rogers Clark at the National Monument in Vincennes, Indiana dedicated by President FDR in 1936; and 3) the Pony Express Monument in St. Joseph, Missouri in 1940.  It also overlooks 8 years of the Great Depression, plus 7 years of MacNeil’s retirement during those same fifteen years.   Furthermore, the word “unable” seems presumptuous.  Whether MacNeil was “unable” to transition or simply “chose not to transition” to a more modern style seems a false dilemma for speculatation.  His sixty-plus-years of sculpting in the Beaux Arts style fully documents his “able-ity” and his preference for creative expression. This website offers continual documentation of those abilities.

Related posts:

  1. Part 2: “Primitive Indian Music” ~ 1894 bronze casting discovered! Is this an early prototype of 1901 “Primitive Chant to the Great Spirit.” ??? (6) A recent inquiry from James Dixon has revealed a previously…
  2. “Chicago Sculpture in the Loop” features Hermon A. MacNeil’s Work at Marquette Building (5) Gregory H. Jenkins has posted stories of the Marquette Bronze…
  3. Hermon MacNeil Sculpture in the Chicago Loop (5) Gregory H. Jenkins AIA, Chicago architect and keeper of the …
  4. ~ ~ ~ “The Most Happy Young Man I Know” ~ ~ ~ ~ ~ ~ ~ Hermon A. MacNeil ~ Success & Marriage! (5) 1895 Hermon Atkins MacNeil, American Sculptor (1866-1947) MacNeil’s bronze of…
  5. “PRIMITIVE INDIAN MUSIC” ~ Part 3: 1894 Eda Lord’s Ticket to the Chicago World’s Fair (5) Eda Lord, (the woman who purchased the MacNeil bronze statue,…
  6. MacNeil “Merry Christmas” (5) Christmas Greetings from the home of Hermon and Carol MacNeil. …
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Out of public view, deep in the archives of the Chicago Art Institute rests a 127 year old bust of Charles F. Browne,  American artist.

Cast in Bronze with a dark brown patina, the piece is signed on pedestal; “MacNeil ’94” / “American Art Bronze Foundry. J. Berchem. / Chicago”

Charles Francis Browne, MacNeil Colleague and American Artist.

The subject was Hermon MacNeil’s colleague, frontier traveling companion, and studio mate in their Marquette Building studio.  The piece came out of their years in Chicago after the 1893 World’s Columbian Exposition.

The archival piece enters its third century of history “OFF VIEW” at the archives of  the Art Institute of Chicago.  Here we offered it exclusively to You, —“Friends of Hermon Atkins MacNeil”  —  & followers of ‘HermonAtkinsMacNeil.com’.   ENJOY !!

1895.   With Hamlin Garland as their guide, the pair rode by train and horse back to the south west territories of the Navajo, Hopi, (Moqui). MacNeil recalled years later, “We found Indians a plenty and perhaps because I was keenly interested in them I was in heaven and I flared to a high pitch, working from sunrise to dark. …”

“Browne painted murals for the Children’s Building at the World’s Columbian Exposition and became an instructor at the Art Institute of Chicago’s rapidly growing school.” 2

Hamilin Garland and Browne were “double” brothers-in-law having married sisters of Lorado Taft, the chief sculptor of the Exposition. Taft was the brother of both of their wives.  They all along with MacNeil were part of the Eagles Nest, a summer artist  colony in Oregon, Illinois.  Browne was a founder of the summer group.

Portrait of Charles F. Browne by H. A. MacNeil 1894. Art Institute of Chicago. [Signed on pedestal; “MacNeil ’94” / “American Art Bronze Foundry. J. Berchem. / Chicago”] 1

The adventure in the Summer of 1895 shaped the lives of all three men, but especially MacNeil who evolved an enduring interest in the Native American Indian as a subject of Beaux Arts sculpture.  

The dating of the bust of C. F. Browne precedes their venture to the Southwest Territory but documents the shared years of their early careers in the 19th century.  

Writing in 1943, MacNeil recalls these years in Chicago:

“I took a small studio in Chicago and tried to see if I could make a go of it. C. F. Browne, painter, was also stranded there and I invited him to share a studio with me. During that year (evenings) I was asked to teach sculpture and drawing in the school of the Art Institute and also had the good fortune to have four bas-reliefs to do illustrating the life of Pere Marquette.”  [ MacNeil, Autobiography

MacNeil’s four bas-reliefs of the life of Pere Marquette still make frame the four-door entrance of the building

The Marquette Building panels after cleaning efforts several years ago sparkle with history and beauty at the 140 South Dearborn Street entrance.

Chicago Architecture celebrated the building renovation and mentioned the 126 year old sculpture panels”

“At the main entrance are four bronze relief sculptures by Hermon A. MacNeil illustrating Father Marquette and Louis Joliet’s travels. They depict the pair launching their canoes, meeting Native Americans, arriving at the Chicago River, and interring Marquette’s body. On the revolving doors are kick plates with tomahawks and push plates with panther heads designed by Edward Kemeys (of the Art Institute lions fame). The vestibule features French and Catholic motifs like fleurs-de-lis and the cross.” 

~ ~ ~ ~  Chicago Art Institute Notations for this work ~ ~ ~ ~

Portrait of Charles F. Browne by H. A. MacNeil 1894.

Portrait of Charles Francis Browne.  Date: 1894
Artist: Hermon Atkins MacNeil.  American, 1866–1947
ABOUT THIS ARTWORK:  Currently Off View

SOURCES:

  1. Art Institute of Chicago. Portrait of Charles Frances Brown by Hermon MacNeil.    https://www.artic.edu/artworks/102974/portrait-of-charles-francis-browne
  2. See Also:  M Christine Schwartz Collection.  https://schwartzcollection.com/artist/charles-francis-browne/

 

PAN                                              MINERVA

 Two bas relief panels by Hermon A. MacNeil have been discovered.  PAN on the left – MINERVA on the right.

They have remained virtually hidden for  over 100 years.

Their original installation and images are verified, but their continued deposition as of 2021 remains uncertain.

The above article from 1916 accompanied the the photos of Pan and Minerva in The International Studio, Vol 59, p LVIII.

Hermon A. MacNeil sculpted these bas reliefs over  a century ago.  Documentation of Pan and Minerva has appeared in recent searches by the webmaster.  

Information discovered in recent weeks include:

  • A Pair of Bas-reliefs of PAN and MINERVA
  • Material: 2 terra cotta reliefs
  • Dimensions: 2 1/2 feet by 4 feet
  • Mr. Hill Tolerton, Owner
  • William C. Hays, Architect
  • Location: 540 Sutter St., San Francisco
  • Building originally designed as an Art establishment
  • Made in Italian Renaissance style with an  upper mezzanine level
  • Adjoining Courtyard patterned after that of the Italian Building in the late Pan-Pacific Exposition  of 1915
  • The 2 reliefs no longer appear on the face of the building as was the stated design. [SEE Google street PHOTO included  below of 540 Sutter Street today]
  • The above images are the only record of the MacNeil work presently found.  Other evidence may be uncovered in subsequent searches.

Mr. Tolerton wanted the facade of his new Art Gallery on Sutter Street in San Francisco ornamented by two “sculptured placques”.  He commissioned MacNeil, a sculptor of the Pan Pacific Exposition of 1915, to make these reliefs of Pan and Minerva to grace his new Art building.

One of Pan the god of the wild, shepherds and flocks, nature of mountain wilds, rustic music and impromptus, and companion of the nymphs. He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr.

The other of Minerva the goddess of wisdom, war, art, schools, and commerce. She was the Etruscan counterpart to Greek Athena.

THESE TWO ICONS MARKED TOLERTON’S NEW BUILDING AS AN ART CENTER.  [ They do not appear in the street photo captured below from 2020 ]

No trace of the MacNeil bas relief panels of Pan and Minerva at 540 Sutter Street, San Francisco in this 2020 street photo via Google maps. Perhaps they were originally in the space high above the doorway and window a century ago in what now appears as stucco finish.  SO, … PAN & MINERVA still remain hidden in the 21st century — if they still exist at all!

SOURCES:

  1. “Two Bas Reliefs by Hermon A. MacNeil”, The International Studio, Ed: Charles Holmes, et. al. Vol.59, p. lviii.  from Google Books on 1/3/2021 at https://books.google.com/books?id=q09aAAAAYAAJ&pg=PR58&dq=Pan+Minerva+san+francisco+Mr.+Hill+Tolerton+1916&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwiWheuZtYPuAhVWZc0KHWyZDScQ6AEwAHoECAMQAg#v=onepage&q=Pan%20Minerva%20san%20francisco%20Mr.%20Hill%20Tolerton%201916&f=false
  2. “A New San Francisco Gallery”, American Art News.  Vol. XIV, No. 33, New York, May 20, 1916. p. 1.

Christmas Eve 1895.

Chicago, Illinois

There was a Wedding in …

Hermon MacNeil’s Studio

~ 1733 Marquette Building ~

Married in a private ceremony on Christmas Day Hermon and Carol MacNeil had a reception in the Marquette Building

Carol Louise Brooks as a young girl. An Etching by William Harry Warren Bicknell. (about 1891)

 

 

Every Christmas we remember this

Special Christmas Day Wedding of two sculptors. 

They met in Chicago, Carol’s hometown as they sculpted the “White City” of The Worlds Columbian Exposition (aka. Chicago Worlds Fair). That event opened in May 1893.  

Hermon made figures on the Electricity Building. Carol (Carrie) was a student of Lorado Taft and became a “White Rabbit”, that group of select females  permitted to sculpt as the deadline for opening day loomed closer.

Two years later Hermon, age 29, proposed to Carol (Carrie) just 24.  She accepted. They got a Marriage License on Christmas Eve and used it the next day.  Several weeks later they sailed to Rome where Hermon had accepted the Reinhart Fellowship and they both continued to learn sculpture for 3 years.  And then spent a a fourth year in Paris.

~ Christmas Day 1895 ~

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