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White-crowned Sparrow (Zonotrichia leucophrys)
Swan Lake Nature Sanctuary, Saanich, BC
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Augustus Saint-Gaudens - American, born Ireland, 1848 - 1907
The Shaw 54th Regiment Memorial, 1900
West Building, Main Floor — Gallery 66
A white man in military uniform rides a horse in front of a regiment of five rows of Black troops in this sculpture, which is painted entirely in gold. The artist created a shallow, stage-like space with an arched top so the men are sculpted in three dimensions, though they become more compressed as they move back in space. The men and horse face our right in profile in this view. The man on the horse has a pointed, straight nose and a goatee. He wears a cap with a flat top and narrow brim, a knee-length coat, gloves, and knee-high boots with spurs. He holds a thin sword down by the side of the horse with his right hand and holds the reins of the horse with his left. The horse’s head is pulled upward by the short reins, and its mouth is open around the bit. About twenty soldiers are lined up in rows beyond the horse, and they march in unison. They carry blankets rolled atop knapsacks, canteens, and rifles resting on their right shoulders. However, the details of how their uniforms bunch up around their equipment and the way their caps have been molded and fit is unique to each person. Their ages also vary from young and cleanshaven to bearded, older men. Two men carry furled flags near the back, to our left, and a drummer boy plays at the head of the regiment, to our right. All the men look straight ahead, their lips closed. A woman in a billowing robe floats above them under the arched top of the sculpture with her eyes closed. Her left arm is outstretched, and she holds a laurel branch and poppies close to her body with her right arm. An inscription in the upper right corner is created with raised capital letters: “OMNIA RELINQVIT SERVARE REMPVBLICAM.” A longer inscription is carved into the base along the bottom edge of the memorial, also in all caps: “ROBERT GOVLD SHAW KILLED WHILE LEADING THE ASSVLT ON FORT WAGNER JVLY TWENTY THIRD EIGHTEEN HVNDRED AND SIXTY THREE.” The artist’s signature is inscribed In the lower right corner, in smaller letters: “AVGVTVS SAINT GAVDEN M-D-C-C-C-L X X X X V I I I.”
The 54th Massachusetts Regiment
The 54th Massachusetts Volunteer Infantry was raised shortly after Lincoln’s issuance of the Emancipation Proclamation on January 1, 1863. Recruits came from many states, encouraged by such African American leaders as the great orator Frederick Douglass, whose own sons joined the 54th. The unit was commanded by 25-year-old Robert Gould Shaw, the Harvard-educated son of dedicated white abolitionists.
On the evening of July 18, 1863, the 54th Massachusetts led the assault upon the nearly impenetrable earthworks of Fort Wagner, which guarded access to the port of Charleston, South Carolina. Shaw, at the front of the charge, was one of the first to die. Of the approximately 600 men of the 54th who participated, nearly 300 were captured, declared missing, or died from wounds they received that day. The steadfastness and bravery of the 54th were widely reported, providing a powerful rallying point for African Americans who had longed for the chance to fight for the emancipation of their race. By the end of the war, African Americans composed 10 percent of the Union forces, contributing crucial manpower to the final victory of the North.
The Sculptor
Augustus Saint-Gaudens was born in Dublin in 1848 and raised in New York, where he was apprenticed to a cameo-cutter at the age of 13. After a period of study in Paris in the 1860s, he began his career in Rome with several commissions for sculpted portraits. In post–Civil War America, the unprecedented interest in creating public monuments to the nation’s heroes brought Saint-Gaudens many commissions. The sculptor’s ability to combine startling naturalism with lofty allegory made his work eminently suited to such endeavors. The Shaw 54th Regiment Memorial, first imagined by the artist as a traditional equestrian monument to a single heroic figure, evolved into a more original and challenging project as the artist added a narrative relief to commemorate the troops as well as their leader. Although the sculptor’s contract called for the work to be completed in two years, it took Saint-Gaudens more than a decade to complete the monument, which kept evolving and growing in complexity, becoming, as he said, “a labor of love.”
Even as The Shaw 54th Regiment Memorial was being cast in bronze before its unveiling on Boston Common in May 1897, Saint-Gaudens was working on yet another version of the subject. This slightly different design, cast in plaster, reflects subtle changes that the sculptor made as he refined the sculpture into his final vision prior to its exhibition in Paris in 1898 and 1900. In 1901, the plaster traveled to the Pan-American Exposition and was purchased the following year by the Buffalo Fine Arts Academy (later the Albright-Knox Art Gallery). Presented by that museum to the Saint-Gaudens National Historic Site in 1949, it was exhibited there for several decades. As part of an extensive conservation and casting project, this plaster version of Saint-Gaudens’s timeless masterpiece came to the National Gallery of Art on long-term loan in 1997.
Augustus Saint-Gaudens was born in 1848 in Dublin, Ireland. His father, Bernard, was a shoemaker from Aspet in Gascony, France, who married an Irishwoman, Mary McGuiness. A few months after Augustus' birth, the family emigrated to the United States to escape the famine, settling in New York City. In 1861 Augustus began his apprenticeships to French cameo cutters in New York, first in the studio of Louis Avet and later, in 1864, with Jules Le Brethon. He also attended classes at the National Academy of Design and the Cooper Union. Early in 1867, with his parents' backing, Saint-Gaudens embarked for Paris. Supporting himself as a cameo cutter, he studied first at the Ecole gratuite de Dessin (Petite Ecole) and, beginning in 1868, in the atelier of the sculptor François Jouffroy (1806-1882), who recommended his admission to the Ecole des Beaux-Arts. Saint-Gaudens became one of the first Americans to study sculpture at the Ecole.
In November of 1870, the Franco-Prussian War prompted Saint-Gaudens to move to Rome, where he began modeling Hiawatha (marble, 1874-1875; private collection) and made cameos and busts of American visitors. With assistance from one patron, Montgomery Gibbs, he returned to New York in September 1872 and began work on trademark panels for the Adams Express Building in Chicago. He taught his younger brother Louis (1854-1913) cameo cutting, and the two went to Rome together in 1873. Augustus modeled a number of portrait busts and copies after the antique, produced in marble in collaboration with Louis and other assistants. But he was above all a modeler whose greatest achievements would be realized in bronze. In 1874 he became engaged to Augusta Homer, who was in Rome studying painting.
Seeking commissions that would provide security for his marriage, Saint-Gaudens returned to New York in 1875, where he designed ornamental metalwork for Tiffany Studios. Around that time he met the painter John LaFarge (1835-1910) and the architects Stanford White (1854-1906) and Charles McKim (1847-1909), who became life-long friends and collaborators. La Farge encouraged Saint-Gaudens to try modeling portrait reliefs and to seek the commission for a monument to Admiral Farragut planned for Madison Square Park. He secured the Farragut commission in 1876. In 1876-1877 he also obtained commissions for tombs and monuments and, with La Farge's help and collaboration, for the reredos for Saint Thomas' Church (polychrome cement composition relief panels, 1877; destroyed by fire in 1905). After a sketch of his was rejected for the National Academy of Design exhibition, Saint-Gaudens joined Richard and Helena Gilder and others in founding the Society of American Artists. He finally married Augusta Homer on 4 June 4 1877; they left for Paris two days later.
In Paris Saint-Gaudens began modeling the portraits in low relief, which would become a leitmotiv of his career, and worked on the Farragut Monument. Stanford White, who came to live with the newlyweds, collaborated on designs for the base, the first of many such projects. With its allusions to Donatello's Saint George (c. 1416-1417, Florence, Museo Nazionale del Bargello), the Farragut Monument evoked the style of the Italian Renaissance as well as the French Ecole des Beaux-Arts, spurning the neo-classicism that had prevailed in American monuments. It was completed in 1880, just as Saint-Gaudens' son Homer (1880-1958) was born, and unveiled in 1881. Its quality and innovative character won Saint-Gaudens his first great public success.
Numerous commissions followed in the 1880s and 1890s. These included two major interior decorative projects for New York mansions between 1881 and 1883: the home of Cornelius Vanderbilt II (mantelpiece preserved in the Metropolitan Museum of Art, New York) and the Henry Villard House. The latter was designed by McKim, Mead, and White, with sculpture executed by Louis Saint-Gaudens under his brother's direction. Monument commissions included The Puritan for Merrick Park in Springfield, Massachusetts (1883-1886), and the standing statue of Abraham Lincoln for Lincoln Park, Chicago (1884-1887). An eighteen-foot statue of a nude Diana (1886-1891), made of gilded sheet copper to stand as a weather vane atop Stanford White's Madison Square Garden, proved too large and was replaced by a thirteen-foot version (1892-1894, Philadelphia Museum of Art). Simultaneously he worked on his most celebrated funerary monument, the Adams Memorial (1886-1891, Rock Creek Cemetery, Washington, D.C.), designed by Stanford White. The heavily veiled, seated figure, with its shadowed, introspective face, summons myriad emotions only beginning with grief for Marion Adams, the wife of historian Henry Adams, who committed suicide in 1885.
Diana and the Adams Memorial statues, at opposite ends of the expressive spectrum, share an ideal of beauty that came to life for the sculptor in his model Davida Johnson Clark, who became his mistress in the early 1880s, and bore him a son, Louis P. Clark, in 1889. Aside from Diana, works that are generally recognized as portraits of Davida include the much-admired Amor Caritas, an entranced, standing winged woman in richly modeled drapery, executed in variously sized bronze high reliefs, beginning in 1898. This figure was evidently conceived around 1880 for the tomb of Edward D. Morgan (unfinished, models destroyed), employed for the Vanderbilt mantelpiece caryatids in 1881-1883, and perfected on the tomb of Anna Maria Smith (1897, Newport, Rhode Island; signed by Louis Saint-Gaudens).
Arguably Saint-Gaudens' masterpiece is the Shaw Memorial on Boston Common, in progress from 1884 to 1897, combining statuary and high relief in bronze. It commemorates the young Colonel Robert Gould Shaw and the regiment of African-American volunteers who died in great numbers with him in a heroic assault on Fort Wagner, South Carolina, in 1863. Saint-Gaudens' gifts for portraiture, cadenced composition, and reserved expression calling forth projected emotions make this an exceptionally powerful war memorial. His last great public commission was the Sherman Monument of 1892-1903 on Grand Army Plaza in Central Park, New York, with a statue of General William Tecumseh Sherman on horseback led forward by a winged Victory.
In his peripatetic career Saint-Gaudens shuttled between Paris, Rome, his New York studio, and the one at his country estate of Aspet, in Cornish, New Hampshire, which was purchased in 1891 and named for the French town where his father was born. Diagnosed with cancer in 1900, he continued working with the help of assistants, recovering from a disastrous studio fire in 1904 and persevering until his death in Cornish in 1907. His late productions included the Stevenson Memorial of 1902 for Saint Giles' Cathedral, Edinburgh, incorporating a version of the famous portrait relief of Robert Louis Stevenson that he had modeled in 1887. In 1905-1907 he designed a new classical coinage for the United States mint, including ten-dollar and twenty-dollar gold pieces.
Saint-Gaudens took a leading role in planning the World's Columbian Exposition of 1893 in Chicago, for which architects, planners, sculptors, and painters together created an ephemeral but influential White City. His continuing collaborations with architects and planners, along with his tremendous talent, promoted increased recognition of the sculptural profession in the United States. He was a founder of the National Sculpture Society in 1893 and of the American Academy in Rome (1894-1895, chartered 1905). His many pupils included Frederick W. Macmonnies (1863-1937) and Bela Lyon Pratt (1867-1917).
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.