BGuthrie Photos: DC -- Donald W. Reynolds Center -- Sculpture

DC -- Donald W. Reynolds Center -- Sculpture:

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGSC_130129_110.JPG: In Arcadia, about 1926 Bessie Potter Vonnoh
2. SIPGSC_130504_001.JPG: Saint John the Evangelist, 1875 Thomas Ball
3. SIPGSC_130504_011.JPG: Fisher Girl, c 1858 William Randolph Barbee
4. SIPGSC_130504_030.JPG: Tennyson's Princess, 1882 William Couper
5. SIPGSC_130504_040.JPG: Eve Disconsolate, modeled 1855-61 Hiram Powers
6. SIPGSC_130504_050.JPG: Hagar, 1875 Edmonia Lewis
7. SIPGSC_130504_071.JPG: Hope, modeled 1869 Hiram Powers
8. SIPGSC_130504_086.JPG: The Libyan Sibyl, modeled 1861, carved 1868 William Wetmore Story
9. SIPGSC_130504_127.JPG: Written in Stone: American sculptors in the nineteenth century translated literature into white marble, taking ideas from the classics, the Bible, romantic poetry, and American fiction. Hiram Powers and others went to Italy to hone their skills and claim their credentials and equals of the great masters. An expensive marble statue on a literary theme showed a patron's sophistication, and a poetic title gave his guests permission to look at a nude figure that would otherwise have scandalized their Victorian morals.
10. SIPGSC_130504_133.JPG: La Grazia, modeled about 1844, cast about 1850 Henry Kirke Brown
11. SIPGSC_130504_151.JPG: California, about 1860, carved before 1873 Hiram Powers
12. SIPGSC_130504_161.JPG: June, 1865 Erastus Dow Palmer
13. SIPGSC_130504_172.JPG: Eve Tempted, modeled 1839-42, carved 1873-77 Hiram Powers
14. SIPGSC_130504_206.JPG: Diana, modeled 1853 Hiram Powers Hiram Powers modeled Diana for Lucius Manlius Sargent, who requested an ideal bust of a new subject. The figure of Diana was based on his sculpture America. To create a unique design, he altered her drapery and added a moon to the stars on her tiara. While carving the first marble replica for Sargent, Powers abandoned two blocks of marble before he found one with no flaws or obvious veins of color. The Museum's version, carved in 1853, was discovered in an antique shop in Portugal more than a century later. It may have been commissioned by Lord Overstone or Peter Fairbairn, two of the artist's patrons from England.
15. SIPGSC_130504_212.JPG: Proserpine, modeled 1844, carved after 1873 Hiram Powers
16. SIPGSC_130504_222.JPG: The Lost Pleiad, 1874-75 Randolph Rogers
17. SIPGSC_130504_278.JPG: Greek Slave, modeled 1841-43, carved about 1873 Hiram Powers "She is too deeply concerned to be aware of her nakedness. It is not her person but her spirit that stands exposed." Hiram Powers Hiram Powers's Greek Slave was by far the most popular full-length statue the artist created. Between 1847 and 1849, more than a hundred thousand people saw the sculpture on its tour across America. The figure depicts a Greek woman who has been captured and chained by a Turkish warrior. The statue referred directly to the Greek struggle for independence during the 1820s, but also evoked the issue of slavery in America. Greek Slave was the first nude statue to be widely accepted by the American public. By emphasizing that the slave was stripped by her captors and not naked by choice, Powers gave the public permission to view the statue without fear of embarrassment. Greek Slave became so famous that Powers received numerous requests for replicas, including six full-size marble versions and more than a hundred busts of various sizes.
18. SIPGSC_130504_298.JPG: Cordelia, 1865 Pierce Francis Connelly Pierce Francis Connelly modeled Cordelia after his elder sister, Adeline. Cordelia is the youngest daughter of Shakespeare's King Lear. In the play, Cordelia, the aging monarch's only loyal child, battles to save her father's kingdom. The Smithsonian Institution used this sculpture as a model for the faces of all the first lady mannequins in the National Museum of American History.
19. SIPGSC_130509_001.JPG: Christening Cup, Saucer, and Spoon, about 1866 Attributed to John R. Wendt
20. SIPGSC_130509_011.JPG: Violet Sargent, 1890 Augustus Saint-Gaudens Violet Sargent came from Europe to New York in the company of her brother, the portraitist John Singer Sargent. At a party given at William Merritt Chase's studio, she met Augustus Saint-Gaudens, who asked to create her portrait. Her brother agreed, promising in return to paint the sculptor's son, Homer. This relief panel is slightly curved, so that it captures the light and the bronze takes on different colors. Saint-Gaudens made unusual choices to create this work. This was part of an informal exchange of tokens between artists, but the sculptor gave the portrait the monumental and timeless gravity of a public memorial. The sculptor chose not to give Violet a conventional, formal pose, but caught her in the act of humming a pitch and tuning her guitar, as though she would shortly sing for her friends. Like an ancient Greek grave marker, this relief captures a fleeting and informal moment in Violet's life. It compresses into one image a love of music, learning, and art that characterized the circle of friends and fellow artists around the Sargents.
21. SIPGSC_130509_021.JPG: Erskine, Nanny, Maxwell, Eliza and Berwick Wood, 1890 Olin Levi Warner
22. SIPGSC_130509_043.JPG: Venus and Adonis, 1895 Frederick MacMonnies
23. SIPGSC_130509_071.JPG: Bacchante and Infant Faun, 1894 Frederick MacMonnies
24. SIPGSC_130509_088.JPG: Peacocks and Peonies I & II, 1882 John La Farge La Farge's stained-glass windows reflect the Gilded Age fascination with medieval art and craftsmanship. The industrial revolution had made inexpensive, mass-produced glass available to anyone, but art glass remained an emblem of wealth and good taste. These windows were commissioned by Frederick Lothrop Ames, a railroad magnate who had them installed in the vast, baronial hall of his Boston house. The tail feathers of the peacocks are made of bits of glass in the "broken jewel" technique; each peony blossom is a single piece of glass molded to catch the light differently through the day. La Farge layered his colored glass as a painter would build glazes of colors to achieve the right shade. For the composition, he borrowed from many cultures: the central panels with the bird and flower motif evoke Chinese and Japanese screens; the lower panels emulate Pompeian architecture; and the transoms above recall the tympanum above the door to a Romanesque cathedral.
25. SIPGSC_130509_098.JPG: Fireback, the Sun God, modeled 1882 Designed by Elihu Vedder
26. SIPGSC_130509_139.JPG: In Arcadia, about 1926 Bessie Potter Vonnoh
27. SIPGSC_130509_152.JPG: Piano, 1903 Case designed by R.H. Hunt and J.H. Hunt
28. SIPGSC_130803_02.JPG: Girl Skating, 1907 Abastenia St. Leger Eberle
29. SIPGSC_130912_01.JPG: Henry Kirke Brown La Grazia, modeled about 1844, cast about 1850
30. SIPGSC_130912_12.JPG: Ferdinand Pettrich Joel R. Poinsett, 1841
31. SIPGSC_130912_20.JPG: Hiram Powers California, about 1860, carved before 1873
32. SIPGSC_130912_27.JPG: Hiram Powers Clytie, modeled 1865-67, carved 1873
33. SIPGSC_130912_37.JPG: Erastus Dow Palmer June, 1865
34. SIPGSC_130912_44.JPG: Vinnie Ream Sappho, c 1870
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