Search Results for "marquette panels"
October 2, 1947 ~ Hermon A. MacNeil dies at 81
Posted by: | CommentsHERMON 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:
- 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:
- 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…
- “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…
- Hermon MacNeil Sculpture in the Chicago Loop (5) Gregory H. Jenkins AIA, Chicago architect and keeper of the …
- ~ ~ ~ “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…
- “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,…
- MacNeil “Merry Christmas” (5) Christmas Greetings from the home of Hermon and Carol MacNeil. …
Related Images:
A 1894 Sculpture of Charles F. Browne ~ ~ ~ by Hermon A. MacNeil.
Posted by: | CommentsOut 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 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:
- Art Institute of Chicago. Portrait of Charles Frances Brown by Hermon MacNeil. https://www.artic.edu/artworks/102974/portrait-of-charles-francis-browne
- See Also: M Christine Schwartz Collection. https://schwartzcollection.com/artist/charles-francis-browne/
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Pan & Minerva from 1916 ~ Two MacNeil “Bas Reliefs” from a Century Ago in San Francisco
Posted by: | CommentsPAN 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:
- “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
- “A New San Francisco Gallery”, American Art News. Vol. XIV, No. 33, New York, May 20, 1916. p. 1.
Related Images:
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 ~
In 1895, Amy Aldis Bradley wrote of Hermon MacNeil:
“…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.” (http://marquette.macfound.org/slide/herman-macneil/ )
One hundred and twenty-five Christmas Days ago, Hermon Atkins MacNeil and Carol Louise Brooks were united in marriage in Chicago, Illinois by Rev. Edward F. Williams, a Congregational Minister. They purchased their Marriage License on Christmas Eve Day 1895 & made their Vows on Christmas. [CLICK HERE to See their License]
Related Post: The-Most-Happy-Young-Man-I-Know/
Both Hermon and Carol were sculptors who worked on the 1983 Chicago World’s Fair (World’s Columbian Exposition). Just days earlier MacNeil received word that he had won the Rinehart Roman Scholarship. (Carol had also studied sculpture with both Lorado Taft and Frederick William MacMonnies). Within the week, the pair left for Rome, passing three years there (1896-1899). It was a romantic time of study together under the same masters. With frugality, the income of Hermon’s Rinehart scholarship supported them both. They travelled through Italy occasionally bartering a room for sculpture. They spend a fourth year in Paris.”
According to information from the MacArthur Foundation (current owner and curator of the Marquette Building), Amy Aldis Bradley’s complete words in 1895 to Peter Brooks:
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.” (http://marquette.macfound.org/slide/herman-macneil/ )
Related Images:
MacNeil Christmas Cards
Posted by: | CommentsHermon 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
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Searching for Uncle Hermon in Chicago ~ Part 2 ~ “Vow of Vengeance”
Posted by: | CommentsMy recent post about our December 3rd journey on the CTA Blue Line train to the Chicago Loop and the Art Institute of Chicago ended with a discussion of “The Sun Vow” and my photo array taken in the Sculpture Court. [Searching for Uncle Hermon in Chicago ~ “The Sun Vow” ]
Another MacNeil piece just steps away in the adjoining American Gallery provides a “preface” to the story of “The Sun Vow”.
Modeled in 1894 that earlier piece was called “Vow of Vengeance.” It shows one of MacNeil’s early studies in Native American depiction. It followed his exposure to the Chicago World Fair, his fascination with sketching the Indians in Buffalo Bill’s Wild West Show, and his modeling work with Black Pipe. (Black Pipe was a young Sioux who worked in Hermon’s studio and modeled for several pieces during 1893-94. He helped with physical labor in the studio as well. CLICK for MORE on Black Pipe and “Primitive Chant”)
MacNeil’s early study “Vow of Vengeance” that evolved into “The Sun Vow”. Art Institute of Chicago. [ Photo Credit: Dan Leininger, 2014 ]
Several pieces dated 1894 seemed to be early prototypes for later larger works and castings. The “Vow of Vengeance” appears to be one of the more prominent. I know of no other copies elsewhere.
A blog about the Art Institute observes some mingling of the identity of the two pieces:
The Vow of Vengeance -1894
By Hermon Atkins MacNeil.
What’s in a name?
Well, somehow I noticed a discrepancy in the name..
The Art Institute website calls it – The Vow of Vengeance [1894]
But marker at the Art Institute has the name – The Sun Vow [Modeled-1898, Cast-1901]. http://theartinstituteofchicago.blogspot.com/2010_12_01_archive.html.
The Two “Vows” Compared 
While the “Vow of Vengeance” and “The Sun Vow” contain similar elements, what they communicate seems quite different:
- TITLE: The two titles carry contrasting emotional messages. The first (Vow of Vengeance) conveys negative aggression and hostile feeling toward some enemy, while the second (Sun Vow) depicts a more positive rite of passage from boyhood to manhood within a setting of family and tribal affirmation.
- GROUPING: The boy and the Elder (Warrior, Chief) are grouped to convey different emotional tones in the two pieces. In “Vengeance,” the chief wears his war bonnet on his head. He is dressed to present tribal authority to the enemy. His face seems harsh and his posture stiff. The Boy strains his head high up into the air. Their grouping seems tense.
In “Sun Vow” the two figures are closer and seem to be “more one.” The Chief has removed his bonnet so as to lean into the boy’s line of sight. The boy is also more grace-full. He looks to the arrow and the sun without straining. Both gaze in the seeming wonder and mystical pleasure of the physical rite.
1894 ~ Prototype Year:
In addition to the “Vow of Vengeance” we have found evidence of another prototype from 1894.
A previous posting tells James Dixon’s story of a MacNeil piece acquired by his Great-great grandmother, Edna Lord. The sculpture bears the title “Primitive Music” on its base. [ CLICK Here for more ]
Photos on that previous post suggest that Edna Lord’s “Primitive Indian Music” was an early prototype of the “Primitive Chant” (which was much more polished and finely surfaced)
It is also based on “Black Pipe”, the young Sioux Brave. MacNeil first saw Black Pipe at the Buffalo Bills Wild West Show and we know that he returned many times to study the Indians. Like MacNeil, I have return to this story of “Black Pipe”, the young Sioux Brave, numerous times, and perhaps, will return many more. ~~ DNL
Hermon MacNeil ~ After the World’s Columbian Exposition
The period after the end of the 1893 Chicago World’s Fair was a lean, even dry time, financially for Hermon MacNeil. We do know that he continued to maintain a studio, sculpt models, teach at the Art Institute of Chicago, and associate with art colleagues and benefactors there. Yet, it seems a productive time of transition, expression, and experimentation for the as the young sculptor.
Traveling to the Art Museum, we walked out of the underground on Dearborn Street just a block south of the Marquette Building which is home to Hermon MacNeil’s 1895 sculptures of 4 bronze relief panels [Cick Here]. This commission marked his recognition and selection for the award of the Rinehart Roman Scholarship. This began 3 years in Rome and another in Paris for he and his young bride, Carol Brooks. The bronze reliefs stands today as an icon to Marquette and his life among the Native peoples. The building has been restored by the MacArthur Foundation and now houses their international headquarters.
Those works tell the story Father Marquette explorations to Native peoples of Illinois. MacNeil would return to Chicago and the Marquette themes three decades later as he sculpted the bronze grouping [CLICK HERE] of Pere Marquette, Louis Jolliete, and an Illinois Indian on Marshall Boulevard. Commissioned by the Benjamin Franklin Ferguson Monument Fund, this sculpture has faced the greenway of the boulevard for 88 years.
Our trip was a satisfying success as our daughter took our pictures at the foot of the Monument.
