ANDERSON. ATWOOD. HERING.

For a few brief years, after US the economy finally healed itself from the financial panics of the mid 1890's and before the exuberance of the 1920's translated itself to Deco, Chicago - surely - was Rome on the Lake. Below is the Field Museum: as only Peirce Anderson might have conceived it. The sculpture is the work of Henry Hering - Anderson's collaborator who dates back to the World's Fair.

THE FIELD MUSEUM

At D.H. Burnham and Company, Anderson definitely had antecedents.  Charles Atwood, showed his "stuff" at the Museum of Science and Industry.  Both Museums have become classcial Chicago Icons.  (So have their sculptures.)    And it is probable  that Atwood, too, knew Henry Hering, who  assisted Phillip Martiny with the original sculpture that graced his Fine Arts Building (now the MSI).

____________________

FOR MORE CHICAGO SCULPTURE, ARCHITECTURE AND PHOTOGRAPHY VISIT

THE CHICAGO LOOP.org

_________________________

CHARLES ATWOOD AND .......MacNeil??

FISHER TWINS. FISHER BUILDING. 343 South Dearborn.

These twin boys, located on the building's south facade are reputed to be sons of the the Fisher Building's developer.  But I've been unable to credit the work to a sculptor.  Looking at these..., perhaps, maybe, it just might be.... some early work from Hermon Atkins Macneil.  It would make sense.  Atwood and MacNeil worked together at the World's Fair. Why not again at the Fisher Building -- where ornament on a very sparse frame takes on an almost ironic importance.

__________________________________

CHARLES ATWOOD. Architecture and Ornament

PHOTOGRAPHS BY GREGORY H. JENKINS AIA

OPEN STUDIO . 10.15.10 NOON TIL SEVEN

55 EAST WASHINGTON STREET - STE 420

CHICAGO 60602

ATWOOD and MARTINY. Sculpture

The Museum of Science and Industry.

Charles Atwood's distinct talent for interpreting  and re-interpreting classical forms is highlighted on the North and South Facades of the The Fine Arts Building at the Columbian Exposition (Now the Museum of Science and Industry). In this photo we see Sculptural columns and Structural sculpture  -- an inversion in late afternoon sunlight.  Phillip Martiny, Sculptor, - and Atwood/s collaborator --   seems to have had an inate sense of mass and scale:  his figures are at perfect rest on Atwood's Ionic columns.

_________________________

For More Chicago Sculpture and Photography visity

THE CHICAGO LOOP.org

CHARLES ATWOOD. Sculpture

Sculpture, in the late nineteenth and early twentieth century, was not simply ornament. It was not just "lobby" sculpture, or "plaza" sculpture.   A sculpture's location, size, subject matter and purpose were integral to the building as a whole. 

Charles Atwoods' Fine Arts Building at the Columbian Exposition would not be complete without Phillip Martiny's sculpture.  Both are better for the other.

_________________________

FOR MORE CHICAGO SCULPTURE, ARCHITECTURE AND PHOTOGRAPHY

VISIT

THE CHICAGO LOOP.ORG

CHARLES ATWOOD. Sculptural Collaboration

Late 19th and early 20th Century Architects collaborated with Sculptors to produce a "Building."  Sullivan worked with Bock and Schneider.  Wright with Ianelli.  Peirce Anderson with Henry Hering.  And Charles Atwood worked with Phillip Martiny and his young assistant, Henry Hering at the Fine Arts Building at the Columbian Exposition.  The work below (now at the Museum of Science and Industry) is a  replacement of the original -- albeit a good one.  Hering was given the replacement commission (in his own right)  in the late "teens.

Although ornament and sculptures' place in construction has gone through a radical transformation, it is still a collaboration of Architect and Sculptor that can produce memorable art. 

William Hartmann and Pablo Picasso come to mind... (along the first Mayor Daley).

For more Chicago Sculpture, Architecture and Photography

visit

CHICAGO IMAGES in the Loop

CHARLES ATWOOD. Architectural Ornament

MARSHALL FIELD and Company

Charles Atwood was "in the thick" of designing  some 30 structures at the Columbian Exposition when he was given the Marshall Field Commission.  He did not give it short shrift.

Tucked below the cornice at Wabash and Washington, this piece of figural sculpture watches over the building.  The  quality is best seen with binoculars -- and by the lucky few with offices directly across the street......ten floors up.

_________________________

FOR MORE CHICAGO ARCHITECTURE, SCULPTURE AND PHOTOGRAPHY

VISIT

CHICAGO IMAGES IN THE LOOP

MOSES EZEKIEL. Christopher Columbus

The years preceeding and immediately following the Columbian Exposition were very good for Sculpture in Chicago.  Better,  than we might guess today today.  Much fine work was destroyed.  Lucky pieces  were salvaged, saved and dispersed throughout the City.

Below is Moses Ezekial's 1894 "Columbus" that onced topped  W. W. Boyington's Columbus Memorial at the corner of State and Washington.  He has been carefully restored and re-placed (appropriately) in Little Italy -- near Polk and Loomis.

Moses Ezekial and Johannes Gehlert were once among the most prominent sculptors in Chicago.  Their work still exists.  Just not where one would expect.

For more on Boyington's building visit ARCHITECTURE FARM

Visit  IMAGES IN THE LOOP for more photographs of Chicago Architecture and Sculpture.

LORADO TAFT. The Fountain of Time

ANOTHER BALANCING ACT

Lorado Taft continued the formula of "balance" throughout his career. Even  the 1922 Fountain of Time -- one of Taft's last works -- and despite its size  (more than 125 feet wide and containing over 100 figures) is a balanced composition of detail, sub-component and whole that provides  perfect organization for a very complicated assembly.

.

FOUNTAIN OF TIME.  Viewed from the East

.

FOUNTAIN OF TIME.  View to the Right

.

FOUNTAIN OF TIME.  Sub-Composition

.

FOUTAIN OF TIME.  Detail

.

FOUNTAIN OF TIME.  Taft Self-Portrait.

.

The Fountain of Time is located at the west end of Midway Plaisance -- where its complexity requires viewing in both morning and afternoon light.  My only regret is that the sculpture was never rendered in the granite that Taft had orginally conceived. The figures most protected  from the weather show Taft at the peak of his creative powers -- if not his career.  For more photographs of the FOUNTAIN OF TIME, click HERE.

_______________

FOR MORE ARCHITECTURE, SCULPTURE AND PHOTOGRAPHY LAUNCH AT

THE CHICAGO LOOP.org

_______________

LORADO TAFT. The Iroquois Memorial

The thing I like most about Taft -- after his beautiful people - is his balance of composition. Not quite symmetry - more aptly described as balance - it allows a remarkable variance of detail within a well defined whole. We're all familiar with his Fountain of the Great Lakes (below).

Lesser known is his Memorial to the Iroquois Fire dated 1910. Within the overall tragedy Taft finds space for  touching scenes of Mother and Child (below).

This Plaque hangs near the West Entrance of City Hall. It's easy to overlook the detail -- but worth a couple of minutes. Next time you're there. To pick up a Building Permit.

The Iroquois Fire disaster was caused by improper electrical wiring and its proximity to flammable materials -- and had significant impact on the Chicago Building Code. (The doors in this picture actually swing INWARD -- for easy entry)

Chicago loves its disasters.  Ghost Tours prowl the alley behind the site of the Iroquois on Randolph and talk about screams in the night. Link to this THE IROQUOIS THEATER FIRE for a particularly ghoulish description of the disaster.

____________________

FOR MORE CHICAGO SCULPTURE, ARCHITECTURE AND PHOTOGRAPHY

VISIT

THE CHICAGO LOOP.org

LORADO TAFT. The Elusuve Lady

FOUNTAIN OF THE GREAT LAKES.

I've photographed Lorado Taft's FOUNTAIN OF THE GREAT LAKES (1907-1913) in the South Garden at the Art Institute of Chicago more times than I can count. In light and in shadow. I think I've found the others, but Lady Superior has remained elusive. She is badly damaged. And looking downward, her face never sees full light.

It seems to me that Taft would not have short-sheeted the most important character of his composition. And, indeed, I believe he has not.

Her eyes are gently, serenely, closed. Her mouth turns slightly downward. But not in sadness. There is some determination here. Perfect confidence. And she is beautiful .

.

In a moment she will awaken. Smiling fully. Freely pouring water in abundance. To the end of time.

______________________

GOOD LINKS

I will be on vacation through July 5.

Sculpture in Chicago is under-noticed and under appreciated.  I am always amazed at the lack of information available about even our most notable work.  So I am particularly glad to be able to recommend the blog PUBLIC ART IN CHICAGO.  Take the time to explore this continuously updated resource.  Link HERE.

Another favorite site is the Augustus Saint Gaudens site posted by the National Park Service.  Link HERE.  We're lucky enough to have both Standing and Seated Lincolns in Chicago.

A new local website is dedicated to Hermon Atkins MacNeil.  Link HERE.  PUBLIC ART IN CHICAGO also posts MacNeil.  Link HERE.  CHICAGO SCULPTURE in the Loop has also posted MacNeil with an emphasis on the Marquette Building. (What a great building!)  Link HERE.  The more the better..... and I look forward to more.

Enjoy.  I'll be anxious to be back, I'm sure, come the sixth of July. 

1823. BERTEL THORVALDSEN

NICOLAUS COPERNICUS
Achsah Bond.   Near the Planetarium.
.

1823 is a little early for Chicago Sculpture.  The original, cast in 1823, is located in Warsaw.  The Polish American Congress and the Copernicus Foundation purchased this casting for Chicago in 1973.

REPRINTED FROM THE BOOK
CHICAGO FIGURAL SCULPTURE

1788. JEAN ANTOINE HOUDON

GEORGE WASHINGTON.
ANOTHER LOOK.
.

I've been to the Fifth Floor of City Hall several times trying to get George's portrait right.  And each time I'm there, I have been distracted by the HORRENDOUS fluorescent lighting, bad shadows and background noise.  Its also a little distracting to know that THE MAYOR is sitting just inside that opposite door.  (Right or wrong, btw, I'm a big fan.)   But this morning,  for whatever reason,  I actually saw Houdon's Washington.

.

And there is absolutely no doubt in my mind why in 1912 the administrators of the Benjamin Franklin Ferguson Fund purchased this casting of the original.  It is remarkable.  Even under fluorescent tubes George's face is so plastic, so realistic, that it photographs like a living, breathing man. Details are accurate.  And in the blur of low light -- well, you get the picture.

.

There are dozens, hundreds of little projects, all over the City  that deserve attention. But replacing the fluorescents above George with some well placed halogen spots is  readily  do-able (given that the stakeholders are the City of Chicago and B.F. Ferguson Fund administered by the Art Institute of Chicago).  And the result would be to better honor George, Ben, Antoine and Richard.  For more on the Ferguson Fund, link HERE.

FOR MORE ARCHITECTURE, SCULPTURE and PHOTOGRAPHY

Visit CHICAGO IMAGES IN THE LOOP

.

1788 JEAN ANTOINE HOUDON

George Washington

CASTING PURCHASED BY THE B.F.FERGUSON FUND
Located at 121 North LaSalle Street. Fifth Floor
.

George stands guard at Mayor Daley's fifth floor office in City Hall.  Where is is much loved. This casting was purchased by the B.F. Ferguson Fund in 1925.

From the Book  CHICAGO FIGURAL SCULPTURE. 

A MEMORIAL TO RENE ROBERT CAVALIER SIEUR DE LA SALLE and HENRI DE TONTI

PLACED BY THE COLONIAL DAMES OF AMERICA.

The LaSalle Memorial on the west side of the Michigan Avenue Bridge is every bit as good as the Marquette Memorial on the East. (See Previous Post)  The cast of characters, again, is protrayed to the last detail .......

....right down to the dog, the earrings, and Tonti's prosthetic hand, shown here adjacent to LaSalle's.

FOR MORE LANDMARK ARCHITECTURE AND SCULPTURE

LAUNCH at

THE CHICAGO LOOP

_________________________

A MEMORIAL TO JACQUES MARQUETTE AND LOUIS JOLLIET

Placed by the COLONIAL DAMES OF AMERICA.  Artist Unknown.

.
The Michigan Avenue Bridge opened to traffic some ninety years ago in May of 1920. Ornamental sculpture and memorial plaques followed to commemorate the local legends of the River and the City. In 1925 the Colonial Dames of America and the Chicago Historical Society placed a Memorial to Louis Jolliet and Jacques Marquette on the east side of the bridge. A Memorial to Rene Robert Cavalier Sieur de LaSalle and Henri de Tonti was placed on the West. All of these explorers are reputed to have "slept here." Link to PUBLIC ART IN CHICAGO for very good descriptions of the Bridge (link HERE) and these Memorials in General (link Here).

Neither of these Placques are credited to an Artist. And both go largely unnoticed by the thousands of pedestrians that pass them each day. (And no wonder. They are mounted below waist level. There is no opportunity to step back for a better look. And they are dark.) Still, their quality is remarkably good and very much worth a second look. Today's detail photographs show the characters of the Jolliet and Marquette bronze relief

,

This is quite a cast of characters.  Considered.  Well-rendered. 

The portrait directly above is (I'm guessing) Louis Jolliet. And I have to wonder what brought on that little smile. And what that unknown artist was thinking.  Just before this placque was cast.  In the spring of 1925.

FOR MORE CHICAGO SCULPTURE, ARCHITECTURE AND PHOTOGRAPHY

BEGIN AT

THE CHICAGO LOOP

__________________________

IRENE PEASE MANTONYA. A Dedication

.

The Michigan Avenue Bridge is almost covered with plaques, memorials and sculpture.  And there are few more prominent places in Chicago. But time (and not much of it) makes a mystery of what, just a generation ago, was important common knowledge.  And so this post today features some of what I don't know. 

Financial Details of the Benjamin Franklin Ferguson Monument Fund. 

The Sculptor who interpreteted and embellished this seal of the City of Chicago. 

And Irene Pease Mantonya, first woman appointed to the Board of Local Improvements -- though her accomplishments, on this damp Saturday morning -- are quite lost in the fog. 

This is a dedication.  Of sorts.

FOR MORE CHICAGO SCULPTURE, ARCHITECTURE AND PHOTOGRAPHY

BEGIN AT

THE CHICAGO LOOP

____________________

CHICAGO SCULPTURE. New Galleries at CHICAGO IMAGES in the Loop.

New sculpture photo galleries are now available at CHICAGO IMAGES IN THE LOOP.  Link HERE to view.

.

JAMES EARLE FRASER. The Pioneers ------ Left Face.

James Earle Fraser's 1928 Sculpture "The Pioneers" is on the north face of the northwest bridge tower of the Michigan Avenue Bridge.  "The Pioneers" is oriented to Michigan Avenue (Left Face) and with Fraser's right-facing "Discovers" frame the BoulMich. Even with  details of the work erased by weather and pollution the power of this work is clear.

.
Chicago knows Fraser for his work on the Bridge. But his greater fame is for the design of the Indian Head Nickel.
.

That Indian Head also shows up on West Lake Street  (at Wells) on Thielbar and Fugard's 1930 Trustees Service System Building. (Don't miss Gwen Lux' "Diana" and "Apollo if you stop by for a look.)

______________________________

FOR MORE CHICAGO SCULPTURE, ARCHITECTURE, AND PHOTOGRAPHY

Begin at

THE CHICAGO LOOP

______________________________

JAMES EARLE FRASER. The Discoverers ---- Right Face

Even within what appears to be the rigid symmetry of the Michigan Avenue Bridge, a Sculptor makes decisions.  Above, James Earle Fraser's "Discoverers" looks to the right -- that Guardian Angel leading the charge is headed straight toward Michigan Avenue.  Henry Hering's work (below), "The Defenders" turns in upon itself, and is "at rest" on its Bridge Tower.

. 

The difference in depictions of the Native Americans is also at variance.  Hering's Indians attack.  Fraser's are at ease.  Docile.  The truth may be somewhere in between.

.

Literally.  This Colonial Dames of Ameria plaque is located on the bridge span itself.  There are two. And both are of remarkable quality.

FOR MORE CHICAGO SCULPTURE, ARCHITECTURE AND PHOTOGRAPHY, begin at

THE CHICAGO LOOP
_________________________

JAMES EARLE FRASER . The Discoverers ---- In Charge.

Fraser's Native Americans,  throughout "The Discoverers"  on the Northwest Michigan Avenue Bridge Tower, are docile, subservient, even to the extreme.  
.

One kneels at Father Marquette's feet.  Others carry the canoe.  The Discover's are in full regalia, moving, decisively from left to right..  The Native Americans are at rest, and wear, primarily, sandals.

FOR MORE CHICAGO ARCHITECTURE, SCULPTURE, AND PHOTOGRAPHY begin at

THE CHICAGO LOOP
_______________________________________