George Washington's Other Resting Place: Restoring The
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Boston Common and the Public Garden
WalkBoston and the Public Realm N 3 minute walk T MBTA Station As Massachusetts’ leading advocate for safe and 9 enjoyable walking environments, WalkBoston works w with local and state agencies to accommodate walkers | in all parts of the public realm: sidewalks, streets, bridges, shopping areas, plazas, trails and parks. By B a o working to make an increasingly safe and more s attractive pedestrian network, WalkBoston creates t l o more transportation choices and healthier, greener, n k more vibrant communities. Please volunteer and/or C join online at www.walkboston.org. o B The center of Boston’s public realm is Boston m Common and the Public Garden, where the pedestrian m o network is easily accessible on foot for more than o 300,000 Downtown, Beacon Hill and Back Bay workers, n & shoppers, visitors and residents. These walkways s are used by commuters, tourists, readers, thinkers, t h talkers, strollers and others during lunch, commutes, t e and on weekends. They are wonderful places to walk o P — you can find a new route every day. Sample walks: u b Boston Common Loops n l i • Perimeter/25 minute walk – Park St., Beacon St., c MacArthur, Boylston St. and Lafayette Malls. G • Central/15 minute walk – Lafayette, Railroad, a MacArthur Malls and Mayor’s Walk. r d • Bandstand/15 minute walk – Parade Ground Path, e Beacon St. Mall and Long Path. n Public Garden Loops • Perimeter/15 minute walk – Boylston, Charles, Beacon and Arlington Paths. • Swans and Ducklings/8 minute walk – Lagoon Paths. Public Garden & Boston Common • Mid-park/10 minute walk – Mayor’s, Haffenreffer Walks. -
Geographical List of Public Sculpture-1
GEOGRAPHICAL LIST OF SELECTED PERMANENTLY DISPLAYED MAJOR WORKS BY DANIEL CHESTER FRENCH ♦ The following works have been included: Publicly accessible sculpture in parks, public gardens, squares, cemeteries Sculpture that is part of a building’s architecture, or is featured on the exterior of a building, or on the accessible grounds of a building State City Specific Location Title of Work Date CALIFORNIA San Francisco Golden Gate Park, Intersection of John F. THOMAS STARR KING, bronze statue 1888-92 Kennedy and Music Concourse Drives DC Washington Gallaudet College, Kendall Green THOMAS GALLAUDET MEMORIAL; bronze 1885-89 group DC Washington President’s Park, (“The Ellipse”), Executive *FRANCIS DAVIS MILLET AND MAJOR 1912-13 Avenue and Ellipse Drive, at northwest ARCHIBALD BUTT MEMORIAL, marble junction fountain reliefs DC Washington Dupont Circle *ADMIRAL SAMUEL FRANCIS DUPONT 1917-21 MEMORIAL (SEA, WIND and SKY), marble fountain reliefs DC Washington Lincoln Memorial, Lincoln Memorial Circle *ABRAHAM LINCOLN, marble statue 1911-22 NW DC Washington President’s Park South *FIRST DIVISION MEMORIAL (VICTORY), 1921-24 bronze statue GEORGIA Atlanta Norfolk Southern Corporation Plaza, 1200 *SAMUEL SPENCER, bronze statue 1909-10 Peachtree Street NE GEORGIA Savannah Chippewa Square GOVERNOR JAMES EDWARD 1907-10 OGLETHORPE, bronze statue ILLINOIS Chicago Garfield Park Conservatory INDIAN CORN (WOMAN AND BULL), bronze 1893? group !1 State City Specific Location Title of Work Date ILLINOIS Chicago Washington Park, 51st Street and Dr. GENERAL GEORGE WASHINGTON, bronze 1903-04 Martin Luther King Jr. Drive, equestrian replica ILLINOIS Chicago Jackson Park THE REPUBLIC, gilded bronze statue 1915-18 ILLINOIS Chicago East Erie Street Victory (First Division Memorial); bronze 1921-24 reproduction ILLINOIS Danville In front of Federal Courthouse on Vermilion DANVILLE, ILLINOIS FOUNTAIN, by Paul 1913-15 Street Manship designed by D.C. -
Off the High Horse: Human-Animal Relations on Public Monuments
Off the High Horse: Human-Animal Relations on Public Monuments This month, the suit concerning the removal of the equestrian statue of Robert E. Lee in Richmond, VA will proceed to trial. A different way to deal with a troubling monument is to place another one nearby to convey an opposing message, and several such corrective statues have appeared near Monument Avenue over the past twenty-five years. In this paper I explore two of these, focusing on the role of the horse. Although the spirited stallion in Kehinde Wiley’s “Rumors of War” (2019) stands in marked contrast to the emaciated beast of burden in Tessa Pullan’s “War Horse” (1997), I argue that both depictions have their roots in antiquity: the former in monumental art, the latter in literature. Thus Wiley’s sculpture adapts the tradition of the equestrian statue, popular in both Greece and Rome, using the animal to showcase the power and superiority of the human rider, while Pullan’s invites viewers to reach beyond the social constructs of friend and foe as well as boundaries of species between human and animal in a manner reminiscent of Homer. In an equestrian statue the horse serves multiple functions; from a practical perspective, it elevates the honoree to a point of greater visibility, while on a more symbolic level it can illustrate characteristics of the rider. In the statue of Marcus Aurelius from the Capitoline Hill, for example, both horse and rider assume a calm and balanced posture, while Wiley’s ensemble exaggerates the impetuous movement of his model, Moynihan’s equestrian statue of Stuart (1907), but also evokes more distant predecessors, from Mills’ groundbreaking depiction of Andrew Jackson (1853) all the way to the Alexander Mosaic and the cavalcade on the Parthenon freeze. -
ABSTRACT Title of Document: VISUALIZING AMERICAN
ABSTRACT Title of Document: VISUALIZING AMERICAN HISTORY AND IDENTITY IN THE ELLEN PHILLIPS SAMUEL MEMORIAL Abby Rebecca Eron, Master of Arts, 2014 Directed By: Professor Renée Ater, Department of Art History and Archaeology In her will, Philadelphia philanthropist Ellen Phillips Samuel designated $500,000 to the Fairmount Park Art Association “for the erection of statuary on the banks of the Schuylkill River … emblematic of the history of America from the time of the earliest settlers to the present.” The initial phase of the resulting sculpture project – the Central Terrace of the Samuel Memorial – should be considered one of the fullest realizations of New Deal sculpture. It in many ways corresponds (conceptually, thematically, and stylistically) with the simultaneously developing art programs of the federal government. Analyzing the Memorial project highlights some of the tensions underlying New Deal public art, such as the difficulties of visualizing American identity and history, as well as the complexities involved in the process of commissioning artwork intended to fulfill certain programmatic purposes while also allowing for a level of individual artists’ creative expression. VISUALIZING AMERICAN HISTORY AND IDENTITY IN THE ELLEN PHILLIPS SAMUEL MEMORIAL By Abby Rebecca Eron Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Renée Ater, Chair Professor Meredith J. Gill Professor Steven A. Mansbach © Copyright by Abby Rebecca Eron 2014 The thesis or dissertation document that follows has had referenced material removed in respect for the owner's copyright. -
National Register of Historic Places Multiple Property Documentation Form MAR 2 9 2001
DPI Form 10-800-b IJai M871 United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form MAR 2 9 2001 A. Name of Multiple Property listing & EDUCATION iMFlGNAl PARK SERVICE Outdoor Sculpture of Rhode Island, 1851-prea^nt B. Associated Historic Contexts Outdoor Sculpture of Rhode Island, 1851-present C. Geographical Data The State of Rhode Island See continuation sheet D. Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I herehy certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria. This submission meets the procedural and professional requirements set forth in 86 CF.H Part 60 and the Secretary of the Interior's Standards for Planning and Evaluation. i Signature of certifying official Date 3 ^Xf State or Federal agency and bureau I hereby certify that this multiple property documentation form has been approved by the National Register as a basis for evaluating related properties for listing in the National Register. S////0/ Date Property name Outdoor Sculpture of Rhode Island, 1851-present E. Statement of Historic Contexts See continuation sheet F. Associated Property Types See continuation sheet G. Summary of Identification and Evaluation Methods X^ See continuation sheet H. Major Bibliographical References X See continuation sheet Primary location of additional documentation: X State historic preservation office _ Other state agency _ Federal agency _ Local government _ University _ Other Specify repository: L Form Prepared By Name/Title: Ronald J. -
Evening Star. (Washington, D.C.). 1937-01-20 [P 11]
Everything from honey bees to pioneer planes shown at Smithsonian. Memorials and statues erected to statesmen, Presidents, generals, and unknown decorate city-Zoo is popular. calv The interior is richly furnished and one may view the mosaics, depicting classical and other themes. There are maps and etchings and paintings to intrigue the visitor and one nmy profitably spend many hours in this citadel of information. The Government of the United States itself contributes to this collection, for near Union Station and City Post Offioe rises the Govern- ment Printing Office, where busy linotypes and humming presses tell of the widespread activity of the people's servants. The Bureau of En- graving and Printing, southeastward of the Washington Monument, is particularly Inter- esting to visitors, for there money is printed and stamps made. Not far from this bureau is the Tidal Basin, around the shores of which are the far-famed Japanese cherry trees that bloom in the Springtime and draw visitors galore Lovers of learning will find a kindred inter- est in the National Capital. Georgetown Uni- versity. conducted by the Jesuits, rears its spires skyward on the Palisades of the Potomac In that historic section of the city, for the Insti- tution was established in the early days of the Republic. The Convent of the Visitation, nearby, is another of the city’s oldest halts of learning. George Washington University, a co-educa- tiona! Institution, is located at Twenty-second and G streets, and is a rapidly growing center. Catholic University, at Brookland, in the North- east section, comprises a large number of build- ings, devoted to the interests of various orders In the church. -
5989 Turcica 35 05 Berksoy
Funda BERKSOY 165 RUDOLF BELLING AND HIS CONTRIBUTION TO TURKISH SCULPTURE During the years following the World War I Rudolf Belling (1886- 1972), a pioneer of abstract sculpture, became one of the most celebrated artists in Germany (Fig.1). His fame was based primarily on works such as his Triad (1919) and Sculpture 23 (1923), in which he strove toward a synthesis of Russian revolutionary art with the current modernist trends. As a member of the Arbeitsrat für Kunst (Workers’ Council on Art) and a cofounder of the Novembergruppe, he also sought a closer relationship between sculpture and architecture, successfully collaborat- ing on many occasions with architects. In the German literature on mod- ern art of the period, Belling was highly praised and embraced as one of the spokesmen of the new art1. When the National Socialists came to power in 1933 and started their campaign against avant-garde art, like many other artists, Belling too sought refuge abroad∞; accepting an invitation from the Turkish govern- ment he left Berlin for Istanbul in 1937. When his professorship at the Kunstakademie (Berlin-Charlottenburg Academy of Art) was interrupted Funda BERKSOY is associate professor, Uludag University, Department of art history, Görükle Kampüsü, Bursa, Turkey. * Unless otherwise indicated, translations are mine. 1 Carl EINSTEIN, «∞Die Kunst des 20 Jahrhunderts∞», Propyläen Kunstgeschichte 16, Berlin, 2nd ed., 1928, p. 228-29∞; Paul Ortwin RAWE, Deutsche Bildnerkunst von Schadow bis zur Gegenwart, Berlin, 1929, p. 223-25. For a list of publications with state- ments by Belling, see J.A. SCHMOLL gen. EISENWERTH, Rudolf Belling, vol. -
Valentine Richmond History Walks Self-Guided Walk of the Virginia State Capitol Square Grounds Text-Only Version
Valentine Richmond History Walks Self-Guided Walk of the Virginia State Capitol Square Grounds Text-Only Version This tour is for personal educational use. The Valentine is not liable for any injury, incident or consequential damages resulting from the use of these materials. Participants are encouraged to follow traffic rules, bring water and wear comfortable shoes. All directions are in italics. Enter the Capitol grounds at any entrance, head toward the Washington Equestrian Statue in the NW corner of the grounds, your tour will start there. Welcome to Capitol Square On this tour of the grounds, you will see the buildings, monuments and memorials of Capitol Square. As you explore this space, it is interesting to note who is honored, why they honored and when their statues were erected. The first monument to feature people of color and women was not erected on the grounds until 2008. We encourage you to take time to reflect as you move through this space. In light of recent events, protests and removal of statues in Richmond, will the Capitol grounds look different in the near future? How do you feel about those who are honored? What changes would you make? Who would you like to see remembered on the grounds? In 1779 the capitol of Virginia was moved from Williamsburg to Richmond. The legislature met in wood framed buildings at 14th and Cary streets. Six squares of land were selected to house the Capitol grounds. The cornerstone of the Capitol building was laid in 1785 and by 1788 it was ready for the legislature to move in. -
National Register of Historic Places Registration Form
NPS Form 10-900 OM6 No. 10244018 (Rev. 1&90) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM This form is for use in nominating or requestmg determinations for individual properties and diAricu. See insrmctions in Haw to Complete the National Register of Historic Places Re~stratmnForm (National Reester Bulletin 16A) Complete each item by marking "x" in the appropriate box or by entering the information requmled If any item dws not apply to the property being documented, enter "NIA for "not applicable." For functions, architecNral classification, materials, and areas of significance, enm only caregories and subcategories from the insmctions. Place additional enmes and narrative ,terns on continuation sheets (NPS Fam lo-900a). Use a Npewiter, word prwessar, or computer, to complete all items. historic name: Virginia Washington Monument other nameslsite number: Washington Monument sculpture group, George Washington Equestrian Statue VDHR # 127-0189 2. Location street & number Capitol Sauare not for publication city or town Richmond (Inde~endentCity) vicinity state Virginia code& county code 760 Zip 23219 3. StatelFederal Aeencv Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this (X) nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property (X) meets -does not meet the National Register Criteria. I recommend that this property be considered significant (X) nationally - on sheet for addition - - Signature of certifying 3ficial DL,/ Virginia De~artmentof Historic Resources State or Federal agency and bureu In my opinion, the property (X) meets -does not meet the National Register criteria. -
Study of the Quaternary Alloys in the Cast of the Equestrian Statue of Bartolomeo Colleoni by Andrea Del Verrocchio (Venice 1480) Availing of Edxrf Systems
9th International Conference on NDT of Art, Jerusalem Israel, 25-30 May 2008 For more papers of this publication click: www.ndt.net/search/docs.php3?MainSource=65 STUDY OF THE QUATERNARY ALLOYS IN THE CAST OF THE EQUESTRIAN STATUE OF BARTOLOMEO COLLEONI BY ANDREA DEL VERROCCHIO (VENICE 1480) AVAILING OF EDXRF SYSTEMS Lorenzo Morigi1, Stefano Ridolfi2 1 Giovanni e Lorenzo Morigi Restauratori, Bologna, Italy, E-mail: [email protected] 2 Ars Mensurae, Rome, Italy, E-mail: [email protected] ABSTRACT The Bronze equestrian statue of Bartolomeo Colleoni by Andrea del Verrocchio, cast between 1466 and 1490 by Alessandro Leopardi in Venice, is composed of several parts connected together availing of casts-on. The statue was analysed using a transportable EDXRF system in situ during the restoration of the monument, applied to 21 chosen areas, with the aim of characterising the alloys that compose the different parts of the statue. The areas to be measured were chosen so as to include every sub-section of the statue, therefore every part underwent at least one quantitative analysis. The metal used in the casts-on is a quaternary copper, tin, lead, zinc alloy, while the rest of the sculpture does not contain any trace of zinc, composed as it is of the classic ternary (copper, tin, lead) bronze alloy. Considering the amount of metal required to make the casts-on, the shapes into which they were moulded and, therefore, the economic cost of every single cast-on, the artist’s intention to exploit the strength of the copper alloys containing zinc to obtain sufficiently strong soldering between pairs of different casts is clear. -
58B. Early Italian Renaissance Donatello
HUMANISM and the CLASSICAL TRADITION: EARLY ITALIAN RENAISSANCE (Donatello and Early Renaissance Sculpture) In the early fifteenth century, the two most important sculptural commissions in Florence were the new bronze doors for the Florence Cathedral Baptistery and the exterior decoration of the Church of Orsanmichele. Orsanmichele, once an open- arcaded market, was both the municipal granary and a shrine for the local guilds. After its ground floor was walled up near the end of the fourteenth century, each of the twelve niches on the outside of the building was assigned to a guild, which was to commission a large figure of its patron saint or saints for the niche. Nanni di Banco. Quattro Santi Coronati, (Or San Michele, Florence), c. 1408-1414, marble Nanni di Banco (c. 1385-1421), son of a sculptor in the Florence Cathedral workshop, produced statues for three of Oransmichele’s niches in his short but brilliant career. The Four Crowned Martyrs was commissioned about 1410- 1413 by the stone carvers and woodworkers’ guild, to which Nanni himself belonged. These martyrs, according to legend, were third-century Christian sculptors executed for refusing to make an image of a Roman god. Although the architectural setting resembles a small-scale Gothic chapel, Nanni’s figures- with their solid bodies, heavy, form-revealing togas, and stylized hair and beards- nevertheless have the appearance of ancient Roman sculpture. Their varying physiognomies and ages identify them as distinct individuals, and their unity of purpose is reinforced by their formal unity; their semicircular arrangement repeats the curve of the niche. Their gestures, serious expressions, and heavy draperies reflect the gravity of the decision they are about to make. -
Domitian's Statue (22-45)
EXCAVATING SILVAE 1.1 OF STATIUS By JUSTIN CODY HOUSEMAN A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2014 1 © 2014 Justin Cody Houseman 2 To my grandmother Martha Ann Michael, who first taught me to read, without whom I could not have begun to translate and write. 3 ACKNOWLEDGMENTS I would like to thank first my adviser Dr. Victoria Pagán for her patience, critical eye for editing, and pithy humor which kept this thesis and author focused, organized, yet open to creative thoughts. Equal thanks is due to my reader Dr. Mary Ann Eaverly for her modest wisdom and patience. I have tried to incorporate all of their suggestions. Any mistakes that remain in this thesis are due to my own negligence. I would like to thank my graduate student colleagues at the University of Florida and friends for listening to my ideas concerning Statius. Finally, I thank my parents and sister for all the support they have given through the years. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 ABSTRACT ..................................................................................................................... 6 CHAPTER 1 INTRODUCTION ...................................................................................................... 7 2 IT'S JUST SILVAE 1.1 AFTER AHL ......................................................................