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 Washington at War

Hermon A. MacNeil’s plaster sculpture of “George Washington”made as his studio plaster model nearly a century ago.

Recognize this Patriot?

You can HELP HIM return to College Point. 

Here are a few clues:

  1. The piece you see here is less that 1/3 the size of the actual statue (pictured below).
  2. For the last 64 years it has been in storage at a museum over 800 miles from MacNeil’s studio in College Point, Queens, NYC where it originated.
  3. Along with a dozen and a half other plaster casts from MacNeil’s studio, this stately Commander left College point after the sculptor’s death.

If the Poppenhusen Institute and Susan Brustmann, the director, have their way, this “General Washington” may spend his 2nd century as a “permanent resident” of the community where Hermon MacNeil sculpted him.

“George Washington as Commander-in Chief” ~ A recent photo of this MacNeil work that has graced the Washington Arch in Greenwich Village for the last 96 years.

 A NEW HOME at the POPPENHUSEN INSTITUTE (MORE)  is being offered just blocks down the street from where MacNeil’s hands fashioned this commemorative piece.

Susan Brustmann, director of the Institute, informs us that discussions are underway to bring these MacNeil statues home. 

For 64 years they have been in the inventory and care of a midwestern museum that has decided to de-assession the pieces.  Seldom seen, never permanently exhibited, and soon to be de-assessioned, over a dozen others may return to College Point.

But your help is needed.

YOU CAN HELP! CONTACT us at:

HAMacNeil@gmail.com

Stay tuned for updates.

Related posts:

  1. Poppenhusen Institute makes MacNeil Collection Appeal! (14.8)
  2. MacNeil Sculpture at Poppenhusen Institute (11.2)
  3. MacNeil Park – College Point, Queens, NY (17)
  4. MacNeil Postcard #3 ~ ‘From Chas. Aug 24, 1907′ (8.4)
  5. Confederate Defenders Statue – White Point Gardens & the Battery (8.6)

 

Here are a few images of  Independence from Hermon Atkins MacNeil for this 237th Fourth of July Day in the United States of America.

1) From Vincennes, Indiana at the George Rogers Clark National Monument, Here is a hero of the American Revolution:

MacNeil’s “George Rogers Clark” in the rotunda of the National Monument in Vincennes, Indiana (Photo credit: Dan Leininger – webmaster)

The ranger at the monument commented on the proud dignity that MacNeil’s work conveys in the face and stance of this 26 year-old Virginia patriot, Col. George Rogers Clark. (Photo: Dan Leininger ~ webmaster)

On a recent visit to the monument, the National Park Ranger commented on the pride and confidence that Hermon MacNeil placed in his rendering of Clark’s gaze and pose for this sculpture.  Clark, a Virginia Militia officer, won the approval and support of Patrick Henry, Governor of Virginia, to conduct a daring attack on the British in the Western frontiers.  Clark crafted, trained, and commanded a special force of two hundred frontiersman, militia, and Kentucky sharpshooters.  Their loyalty to the cause and Clark’s strategy of surprise resulted in capture of the British fortifications on the Western frontiers along the Mississippi, Ohio and Wabash Rivers at Vincennes, IN; Cahokia, IL; Kaskaskia, IL  Enduring severe winter hardships, starvation, and sickness their monumental military achievement resulted in British withdrawal from the West and the surrender of territories east of the Mississippi in the Treaty of Paris in 1783. These are due in part to Clark’s Victories.  He was the oldest of a family of famous brothers.  In 1804 his brother William Clark, along with Meriwether Lewis, would explore the Louisiana Purchase west of the Mississippi for President Jefferson.

2. From New York City, Washington Square Arch. ~ “George Washington, Commander in Chief” by Hermon A. MacNeil.

1916 Photo of the installation of the MacNeil statue. Thia appears to have the statue sitting in the right hand leg of the Arch. The left leg is where it was permanently installed. Photo Credit: John Gomez, NYC.

 

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

 

 

 

 

 

 

 

 

 

 

In 1916 the northeast statue pedestal received its Washington statue after being empty for over 20 years.

The other shelf of the Arch remained empty until 1918 when Alexander Stirling Calder’s “Washington as President” was installed.  The installation on the right is a bit confusing.  This photo was salvaged from a NYC flea market in June 2012 by John Gomez and used with his permission. John purchased this and other photos of interest to this MacNeil researcher and has graciously allowed their use by webmaster.  This ‘strange’ photo shows the MacNeil statue resting on the right-hand side of the Arch where the Calder statue would be placed two years later.  (The ladder, rope and pulleys suggest “Men at Work.”  Compare the 2012 photo to its left.)

For MacNeil this event took place the same year as the first issue of his sculpture for the U.S. Mint’s “Standing Liberty Quarter.”

For more on the Washington Arch: CLICK HERE

3. From Philadelphia, PA. “The Civil War Soldiers and Sailors Monument.”  Benjamin Franklin Parkway.

Jim Haas, author and College Point native, sent this Philadelphia shot of Hermon MacNeil’s Soldiers and Sailors Monument on the Benjamin Franklin Parkway. That is a rare shot of Jim himself, taken by Lynne, his director of public relations. : ) Jim is a Friend of HermonAtkinsMacNeil.com and a generous researcher for the website.  CLICK HERE for Jim’s Books

The second half of the American Revolution (the preservation of the Union) is commemorated in this pair of 60 foot monuments on either side of the parkway entrance.

The back of the monuments read:

~~ “ONE COUNTRY, ONE CONSTITUTION, ONE DESTINY” ~~

~~ “IN GIVING FREEDOM TO THE SLAVE,

WE ASSURE FREEDOM TO THE FREE.” ~~

HEAR & VIEW PHILADELPHIA’S PRIDE IN THIS MACNEIL ART AT:

CLICK HERE  and THEN run video by VIMEO.COM

 

FOR MORE INFO ON THESE MacNeil works see:

  1. DC Memorials – excellent photos ~ CLICK HERE
  2. Philadelphia Pride – “Soldiers & Sailors Monument” ~ by H. A. MacNeil (31.4)
  3. 75th Anniversary of the George Rogers Clark National Monument (9.2)
1895
Hermon Atkins MacNeil, American Sculptor (1866-1947)

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

December of 1895 was an exciting time in the life of Hermon A. MacNeil — A time when he was described as “the most happy young man I know.”

Chicago. In fact, 1985, in general, had been a productive year for the sculptor.  Following the 1893 Chicago World’s Fair, times had been tough for both artists and Fair workers.   MacNeil had found Black Pipe, (the Sioux from Buffalo Bill’s Wild West Show), cold and hungry on the streets of Chicago.  He took him in as studio help and a model for future sculptures. 

Marquette.  During 1895, Hermon had completed the four bronze panels depicting the life of Fr. Jacques (Père) Marquette.  They were put in place over the four entry doors of the Marquette Building (CLICK HERE) where he and his artist friend, Charles F. Browne, shared a studio. 


Panel 4 – “The de Profundis was intoned ..

According to information from the MacArthur Foundation (current owner and curator of the Marquette Building), Amy Aldis Bradley wrote 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/ )

 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.

H.A.MacNeil ~1895 sketch - Chicago-Sun
H.A.MacNeil ~1895 sketch – The Sun (New York City)

The sculptors on the committee that selected MacNeil for the  award were the ‘giants’ among American sculptors of the 19th century. As mentioned in the above newspapers, the Rinehart Roman committee included Augustus Saint Gaudens, John Quincy Adams Ward, and Daniel Chester French

These famous sculptors were in the prime of their careers.  Saint Gaudens, at 47, had been the sculptural advisor for the 1893 World’s Columbian Exposition in Chicago.  One tradition suggests that MacNeil asked Saint Gaudens for a letter of reference to Phillip Martiny that got him work on the  that Exposition in  1893. John Quincy Adams Ward, at age 65 was the ‘grandfather’ of American sculptors, and the founder as well as standing president of the National Sculpture Society. Daniel Chester French, age 45, was also a founding member of the National Sculpture Society, and sculpted the colossal sixty-foot golden “Republic” centerpiece statue for the Chicago Fair. ( A thirty foot tall miniature golden replica of which still graces Jackson Park in Chicago today.)

Marriage:

On Christmas Day 1895, in Chicago, he married Carol Louise Brooks, also a sculptor. Earlier MacNeil was informed that he had won the Rinehart Roman Scholarship. 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 study together under the same masters and  live on the shared income of Hermon’s Rinehart Scholarship.  (Carol  had also studied sculpture with both Lorado Taft and Frederick William MacMonnies and been a member of “The White Rabbits” ~ a self christened group of women sculptors called in to complete the massive work load of ‘staff’ statues needed for the Chicago Fair in 1893. )

Future:

Other events from 1895 would later unfold into sculpture-opportunities for Hermon MacNeil. In May in Greenwich Village, New York City, Stanford White, with assistance from both Frederick MacMonnies and Phillip Martiny, completed a permanent Washington Arch. 

,
1895 photo of Empty pedestals on the new Washington Arch with New Yorkers strolling into the popular park.  The skyline includes Judson Memorial Church tower to the right of the Arch.  NYC Citizens would wait more than twenty years before the MacNeil and Calder tributes to George Washington as Commander-in-Chief and as President would be commissioned and put in place in 1916 and 1918. (Photo credit: NYC -Architecture.com: ~  http://nyc-architecture.com/GV/GV046WashingtonSquareArch.htm)

The first one, made in 1889 of paper and wood, commemorated the centennial of  the inauguration of  George Washington.  Received with great popularity, the citizens of NYC demanded a permanent Arch monument for their first President.  White’s design was dedicated on May 4, 1895 with two empty pedestals, meant for statues of Washington.  These niches on the north face of the monument remained empty for almost two decades before MacNeil’s statue of Washington as Commander-in-Chief would fill one pedestal (east side, in 1916), and Alexander Stirling Calder’s statue of Washington as Statesman would fill the other (west side, in 1918).

General George Washington with Flags (U.S. and POW/MIA) ~ Washington Arch Greenwich, NYC (All Photos Courtesy of: Gib Shell ~ KC, MO)

General George Washington ~ gloves-in-hand and hand-on-sword

MacNeil's "Washington at War" with 'Valor' in profile to the right

MacNeil's "Washington at War" ~ visioning leadership

 

 

Comments (0)

MacNeil's 12' 8" statue Washington (left ) from the other side of the Arch.

George Washington

 February 22, 1732

Pictured below is Hermon A.  MacNeil’s sculpture of General Washington in the uniform of the General in Chief of the Continental Army placed on the easterly pedestal base of the memorial Arch on May 27, 1916.

H. A. MacNeil's "Washington at War" balances the east side of the Arch in Washington Square while Alexander Stirling Calder's "Washington as President" graces the west side. Both sculptors studied at the Ecole des Beaux-Arts in Paris and represent that art style.

The first Washington Arch was constructed to commemorate the centenary of George Washington’s inauguration as the first President of the United States.  That Memorial Arch was a temporary structure meant only for the celebration in 1889.

“The first arch was made of wood, designed by Stanford White, great architect of the age of opulence. It was originally constructed for the Centennial of Washington’s Inauguration. The celebration took place on April 30, 1889. Festooned with papier mache wreaths and garlands of flowers, lit up with hundreds of newly invented incandescent lights, the whole thing cost a whopping $2700. The arch was the hit of the ceremonies. Two days later the Marble and final version was commissioned. White also designed that. By April of 1892 the last block was in place, though the arch wasn’t dedicated until May 4, 1895!”

“Washington’s likenesses were not added until 1916 when the east pier’s “Washington at War” by Herman MacNeil was unveiled. Two years later the west pier’s “Washington at peace” by A. Stirling Calder was dedicated. Both have suffered erosion during the age of the automobile and the formerly fine features of Washington are pitted and broken down so, he is no longer really recognizable. Perhaps it’s time to redo them in bronze. For the next century. Why not?”  

http://www.nyc-architecture.com/GV/GV046WashingtonSquareArch.htm

Calder's "George Washington as President" as it appeared before restoration.

Stanford White, of the architectural firm of McKim, Mead and White, (click name to see their work) was one of the first to be associated with the City Beautiful and the Beaux Arts movements dedicated to cleaning up American cities and planning them with order and artistic beauty.  The Arch stands at the end of Waverly Place and Fifth Avenue. The neighborhood was lined with mansions of the wealthy in the gilded age before World War I.

“The Gilded Age was a time of pomp and peace and prosperity. Never before were the gaps between the rich and poor so sharply divided as they were in those quiet years before The Great War of 1917. Without personal income tax to curtail immense fortunes in America’s burgeoning industries, millionaires flourished and paraded their wealth for all the world to see. The magnificent mansions of John D. Rockefeller, J.P. Morgan and Andrew Carnegie stand like faded peacocks along New York’s Fifth Avenue to this day, bearing silent tribute to a luxurious past long faded into time.”

 Marjorie Dorfman at http://www.nyc-architecture.com/ARCH/ARCH-McKimMeadandWhite.htm

According to the Daily Planet, Washington Square ARCH is one of the great place to celebrate Washington’s Birthday:

George Washington Sculptures at Washington Square Arch, Washington Square Park
Designed by architect Stanford White, the Arch was dedicated in 1895. Washington as Commander-in-Chief, Accompanied by Fame and Valor was designed by Hermon Atkins MacNeil and was installed in 1916. Washington as President, Accompanied by Wisdom and Justice was designed by Alexander Stirling Calder and installed in 1918. A major restoration of the arch was completed in December 2004.
http://www.nycgovparks.org/parks/M090/news

 

 

NOTE: February 22nd marks the 279th Birthday of George Washington.
February 27th is the 145th Birthday of Hermon A. MacNeil.
The Arch in Washington Square Park, NYC, contains TWO separate statues of Washington

 

 

[Continued from the February 12th posting:]

While Washington "Refused to Be King" many personal factors as
well as the expectations of the people were put upon him.

1) As a large man with great physical bearing, he was an embodiment of authority all his life.

2) At 6′ 4″ and slightly over 200 lbs, he was a full head taller contemporaries.

3) Washington was not a handsome man but when he set in motion, his full package conveyed a sheer majesty.  Benjamin Rush observed, “He has so much martial dignity in his deportment that there is not a king in Europe but would look like a valet de chambre by his side.

4) As a fledgling nation that had only known “ROYALTY” prior to independence.  So any leader who looked royal was eligible, so to speak, for coronation.

5) “John Adams claimed that the reason Washington was invariably selected to lead every national effort was that he was always the tallest man in the room.” (Ellis, p. 124)


6) It did not help that he often portrayed a royal style of dress, designed his own uniforms and had them tailor-made to fit his striking frame.
7) As one of his biographers put it, “his body did not just occupy space, it seemed to organize space around it.“ (Ellis, p. 124)

Given all the above, Ellis adds the 'crowning' observation:  
He had no compunction about driving around Philadelphia in
an ornate carriage drawn by six cream-colored horses; or, when
on horseback, riding a white stallion with a leopard cloth and
gold trimmed saddle; or accepting laurel crowns at  public
celebrations that resembled coronations. (Ellis, p. 127)
No wonder the majestic man became regarded as 
"His Majesty."

The TWO Washington Statues
MacNeil's sculpture of Washington as "Soldier" was the
first of the two done in stone.  It was intended to set off the
companion piece of Washington as President, by Alexander
Stirling  Calder on the supporting walls of the Washington
Arch, on Fifth Avenue, New York.
One shows “The President,” and the other” “The Soldier.”  

MacNeil told McSpadden in 1924:
"We had to work together on those statues, Calder and I," said
Mr. MacNeil, "and we had some hot arguments over them,
though we are good friends.  Of course, each of us had his own
statue to do, but we had to treat them in the same restrained
manner, to fit each other and the Arch itself."

In order to fit the the Arch's 77 foot stature, MacNeil's
Washington was sculpted twice life-size.  So while 6 foot
4 inches in life, in MacNeil's hands,Washington became 
12 foot and 8 inches tall.  Despite this size the greater
massiveness of the Arch almost  dwarfs the figures.  In a
similar manner, the revolution and the resulting
republic appear to dwarf any ONE person or group
of Founders.  Perhaps that is the essence of the
heritage of the United States of America as a
republic.   A heritage recaptured by the immortal words
of another President, Mr. Abe Lincoln (also born in
this month) as he closed his comments over the grave sites at Gettysburg.

The statue and plinth dwarf the man below.


                                    "that government of the people,
                                                  by the people, for the people, 
                                                             shall not perish from the earth."


After Washington finished his second four year term as
President, he stepped down. He returned to his beloved Mount
Vernon Estate.  He lived only three more years and died in 1799
in the third year of the Presidency of John Adams. 

Yes, "we have a republic, if we can keep it."
And the man who could have been King, chose instead, to be a
Citizen.
First a citizen-soldier and then a citizen-President.  And so it
has been ever since. 

Presidents Day, the rule of law and the TWO 
twelve-foot eight-inch statues of Washington by 
Hermon Atkins MacNeil and Alexander Stirling
Calder remind us of that heritage.  

As well as the absence of any likeness of anything or
anyone resembling:      
       "KING GEORGE WASHINGTON IV"

For Mr. Washington was:   "A Man Who Refused to BE KING!"


The Arch when traffic was still allowed in the Square.
For further Reading and research see:
  1. Kurt Soller, Newsweek, “The Man who Would Be King” Oct. 8, 2008 (click on title for link)
  2. Joseph J. Ellis, Founding Brothers, Knopf: NY, 2001.  p. 120-161 (especially 124-127).
  3. http://www.newsweek.com/2008/10/07/the-man-who-would-be-king.html

Related Posts on this website:

  1. https://hermonatkinsmacneil.com/2010/05/11/new-york-washington-square-arch/
  2. https://hermonatkinsmacneil.com/2010/09/26/washington-square-nyc/
Video: 
    Here's an informative video on the nature of the
    American "republic." While a bit harsh on its
    characterization of 'democracy," it is well
    worth watching.
  • TITLE: "A Republic if you can keep it."  
  • LINK:  http://www.youtube.com/watch?v=YGL8CiUtXF0
  • Comments on this video include: Uploader Comments (aliunde)
  • “Entertaining video, but this is a gross misrepresentation. The author doesn’t note, for example, that the U.S. Constitution replaced the catastrophic “limited government” under the Articles of Confederation, and that a desire to tax Americans directly & regulate interstate commerce were the two chief motivations behind the U.S. Constitution. The size & role of a government is not the issue; it is a government’s internal structure – its checks & balances – which are the key to its success. AboveAllNations 7 months ago”

  • @AboveAllNations: The Constitution was one of strictly limited and enumerated powers. You need but read The Federalist Papers (authored by Madison, Jay, and Hamilton) to secure passage of the Constitution by the respective states) to understand that.  A quick quote: “The powers delegated by the proposed Constitution to the federal government are few and defined. Those which are to remain in the State governments are numerous and indefinite.” –James Madison, Federalist No. 45    –  aliunde 7 months ago 7

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