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

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

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Description of Pictures: Mostly sculpture by Paul Manship

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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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_100703_002.JPG: Group of Bears 1939 bronze Paul Manship In 1926, Paul Manship was commissioned to build the Paul J. Rainey Memorial Gateway at the Bronx Zoo. The double gates stand over thirty-four feet high and forty-two feet wide, cost $250,000 to create, and took almost fifteen years to complete. Above the left gate, Manship modeled three bears. When the gates were complete, he issued independent casts of this assemblage to recoup some of the gateway's enormous costs. Group of Bears is one of these casts and is less than half the size of the original. Manship maintained the poses of the animals but adjusted them from a profile to a frontal composition. This perspective makes the bears look more like a triple portrait than three individual animals. In fact, the artist modeled all three animals from careful life study of one of the zoo's bears. Manship did not give them much detail or surface decoration because the sculptures were originally made to stand over twenty feet above the viewer.
2. SIPGSC_100703_006.JPG: Paul Manship (1885-1966) was one of the finest American sculptors working during the early twentieth century. He is best known for his sculptures inspired by mythology and symbolic figures and for his sculptures of animals made to adorn the Bronx Zoo and a Central Park playground in New York. Manship also played a particularly significant role in the history of the Smithsonian American Art Museum, serving on the museum's board of commissioners beginning in 1932 and as the board chair from 1945 until 1964. Manship's passion for representational art influenced the museum's growth during these pivotal decades in which abstraction came to the fore in American art. The year Manship stepped down from the museum's board, he made a significant gift of his artworks to the museum. Following his death in 1966, the Smithsonian American Art Museum became one of the richest repositories for Manship's finished drawings, preliminary sketches, and his sculptures in bronze and stone, thanks to a bequest of half of his estate. In addition to the works displayed here, more of Manship's sculptures are on view in the Luce Foundation center on the third floor.
3. SIPGSC_100703_041.JPG: Dancer and Gazelles 1916 bronze Paul Manship Dancer and Gazelles won Paul Manship the 1917 National Academy prize for best young sculptor and established his reputation as an up-and-coming artist. The tension in the small areas between the figures emphasizes the dancer's gestures, which command the gazelles' movements. Among artists of his time, Manship was unique in incorporating South Asian motifs and themes (Rather, "The Past Made Modern: Archaism in American Sculpture," Arts, November 1984). He derived this subject from ragamala paintings that illustrate Indian musical compositions. In these images, animals respond to the dance as cobras sway to the movement of a flute. Here, for instance, the gazelles mimic the motion of the dancer's hips and the sweep of the veil that flows from her neck.
4. SIPGSC_100703_058.JPG: Flight of Europa 1925 Paul Manship These sculptures illustrate the story of Zeus, king of the gods in classical mythology, and the princess Europa. Zeus fell in love with Europa while watching her gather flowers by the sea, and approached her in the form of a great white bull. She was frightened, but soon began to play with the creature, and once she had climbed on his back, Zeus swam across the sea to Crete. In Europa and the Bull, the girl is shown caressing the face of the bull, and in Flight of Europa, she rides on his back as they travel across the water. Manship made many replicas of these sculptures and often gave them to his friends as souvenirs.
5. SIPGSC_100703_101.JPG: Group of Deer 1941 Paul Manship In 1926, Paul Manship was commissioned to build the Paul J. Rainey Memorial Gateway at the Bronx Zoo. The double gates stand over thirty-four feet high and forty-two feet wide, cost $250,000 to create, and took almost fifteen years to complete. Above the right gate, Manship modeled a group of deer. When the gates were complete, he issued independent casts of these sculptures to recoup some of the gateway's enormous costs. Group of Deer is one of these casts and is less than half the size of the original. Manship maintained the deer's poses but moved the animals from a profile to a frontal composition, making them appear more lifelike, as if they could be a family in nature. Manship carefully studied deer and made a number of sketches from life. He tried to capture different qualities in each sculpture, endowing the stag with a sense of elegance, the doe with a gentle character, and the faun with a sense of fragility.
6. SIPGSC_100703_123.JPG: Indian Hunter and His Dog 1926 Paul Manship Paul Manship created many sculptures of Native American hunters, including this one for a fountain in Cochran Memorial Park in his hometown of St. Paul. The subject was a favorite of the artist's because it reminded him of his childhood in Minnesota, and he returned to it often throughout his career. In these sculptures the determined expressions and animated poses of the figures evoke the excitement of the chase. Here, the hunter's arrows, feathers, loincloth, and right leg form strong horizontal elements that correspond to his dog's urgent movement. The dog gazes upward at the arrows, creating a link that establishes the cooperative relationship of hunter and dog.
7. SIPGSC_100703_149.JPG: Salome 1915 Paul Manship In the New Testament, Salomé is King Herod's beautiful stepdaughter. Herod was so entranced with Salomé that he offered her anything "unto the half of my kingdom" if she performed the Dance of the Seven Veils for his birthday (Mark 6:21). John the Baptist had angered Salomé by rejecting her, and after she performed her seductive dance she asked Herod for John's head on a silver platter. This biblical story of royal intrigue, sex, and murder has inspired many artists, including composer Richard Strauss and author Oscar Wilde, whose 1893 stage version was banned in England for more than thirty years. Here, Salomé's elaborate drapery and long limbs lead the viewer's eye to the decapitated head, emphasizing her bittersweet victory over the prophet.
8. SIPGSC_100703_161.JPG: The Crane and the Peacock 1952 Paul Manship This bronze gate was one of six commissioned for the William Church Osborne Memorial Playground in Manhattan's Central Park. Each panel shows a tale from Aesop's Fables, a collection of ancient Greek stories that teach moral lessons to schoolchildren. In The Crane and the Peacock, the peacock boasts that his plumage is bright and beautiful. As she flies away, the crane points out that despite her dull feathers she can see the world from the skies, while the vain peacock is stuck on the ground. Aesop's fable persuades us that fine feathers do not necessarily make fine birds. To tell the story, Manship created a circle extending from the crane's right wing through the peacock's train and finally through an invisible diagonal line that links the two birds' eyes and beaks. The delicate clouds give the crane's domain a buoyant feeling, while the dense foliage suggests the weight of the peacock's earthbound existence.
9. SIPGSC_100703_174.JPG: The Fox and the Crow 1952 Paul Manship This bronze gate was one of six commissioned for the William Church Osborne Memorial Playground in Manhattan's Central Park. Each panel shows a tale from Aesop's Fables, a collection of ancient Greek stories that teach moral lessons to schoolchildren. In The Fox and the Crow, the fox flatters the bird in order to make her say "thank you" and drop a piece of cheese from her mouth. The fox immediately gobbles up the food and runs away, leaving the crow to "beware of flattery." Manship connected the animals by an unseen diagonal line stretching from the fox's empty mouth to the crow's cheese. To communicate the story, however, he included a brief summary in the upper right-hand corner.
10. SIPGSC_100703_234.JPG: Atalanta 1921 Paul Manship Atalanta, the hunter of Greek legend, was a powerful athlete, able to run faster than any competitor. The oracle warned her against marriage, and so she challenged her suitors to a race that, if they lost, would result in their deaths. The young Hippomenes had fallen in love with Atalanta and asked the goddess Venus to help him win the contest. Venus gave him three golden apples, which he dropped during the race to tempt Atalanta to slow down. Here, Paul Manship uses the myth to depict a figure in motion. A scarf billows in Atalanta's wake, emphasizing her swiftness and suggesting as well that Hippomenes has ensnared her with his love.
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