PHILIP MARTINY. Chicago 1893

++++Philip Martiny was born in Strasbourg, Alsace Lorraine, in 1858 and worked in Paris at the atelier of sculptor Eugene Dock . In 1878 he emigrated to the United States, where he accepted a position as assistant to Augustus Saint Gaudens at the Cornish Studio. In 1873 Martiny established his own Studio on Macdougal Alley in Greenwich Village, New York.

Major commissions include work at Chicago’s 1893 Columbian Exposition. Buffalo’s 1901 Pan American Exposition and the Louisiana Purchase Exposition of 1907 in St. Louis. Martini died in New York in 1927.

 

THE PARTHENON FRIEZE. At the Art Institute of Chicago

++++In 1892 Martiny spent a year living in Chicago to create sculpture for the Agriculture and Fine Arts Buildings at the Columbian Exposition, and the Art Institute of Chicago on Michigan Avenue. Although much of Martiny’s work at the Fair is lost, the sculptural reliefs at the Art Institute remain in excellent condition

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LEON HERMANT and CARL BEIL

ILLINOIS ATHLETIC CLUB  1908 . Details

Some of Beil and Hermant's work appears to be conceptual.  Other's however, are clearly portraiture.  Whose is the thoughtful face shown below?  It is clearly not of the same hand or style as those above.

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ANISH KAPOOR. Cloudgate

It feels like the end of winter, though still windy The light is changing wildly.  Today, I'll let the camera do the talking.

ACROTERION. A Deco Interpretation

Alfred Shaw came into his own at Graham Anderson Probst and White after Peirce Anderson's death in 1924.  Shaw quickly moved away from Anderson's (and Burnham's) flat-roofed classicism to peaked roofs and interpretive ornament. 

THE PITTSFIELD BUILDING

THE MERCHANDISE MART

At the Pittsfield Building, the classic acroterion becomes an American Eagle.  At the Merchandise Mart, it is a Native American.  They still, however,  represent the classic tradition of  Sculptor and Architect working in close partnership  -- a tradition soon destroyed by depression and war. 

The Sculptor is unknown to this blogger.  Any clues would be much appreciated.

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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).

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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.

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CHARLES ATWOOD. Architecture and Ornament

PHOTOGRAPHS BY GREGORY H. JENKINS AIA

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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.

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