Rockefeller Center
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Center art:
Rockefeller Center represents a turning point in the history of architectural sculpture: it is among the last major building projects in the United States to incorporate a program of integrated public art. Sculptor Lee Lawrie contributed the largest number of individual pieces — twelve — including the statue of Atlas facing Fifth Avenue and the conspicuous friezes above the main entrance to the RCA Building.
Paul Manship's highly recognizable bronze gilded statue of the Greek legend of the Titan Prometheus recumbent, bringing fire to mankind, features prominently in the sunken plaza at the front of 30 Rockefeller Plaza. The model for Prometheus was Leonardo (Leon) Nole, and the inscription from Aeschylus, on the granite wall behind, reads: "Prometheus, teacher in every art, brought the fire that hath proved to mortals a means to mighty ends." Although some sources cite it as the fourth-most familiar statue in the United States, behind the Lincoln Memorial, Mount Rushmore and the Statue of Liberty, Manship was not particularly fond or proud of it.[citation needed]
A large number of other artists contributed work at the Center, including Isamu Noguchi, whose gleaming stainless steel bas-relief, News, over the main entrance to 50 Rockefeller Plaza (the Associated Press Building) was a standout. At the time it was the largest metal bas-relief in the world. Other artists included Carl Milles, Hildreth Meiere, Margaret Bourke-White, Dean Cornwell, and Leo Friedlander.
In 1932, the Mexican socialist artist Diego Rivera (whose sponsor was Museum of Modern Art and whose patron at the time was Abby Aldrich Rockefeller, the wife of John D. Rockefeller, Jr.), was commissioned by their son Nelson Rockefeller to create a color fresco for the 1,071-square-foot (99 m2) wall in the lobby of the then RCA Building. This was after Nelson had been unable to secure the commissioning of either Matisse or Picasso. Previously he had painted a controversial fresco in Detroit entitled Detroit Industry, commissioned by Abby and John's friend, Edsel Ford, who later became a MoMA trustee.
Thus it came as no real surprise when Rivera's Man at the Crossroads became controversial, as it contained Moscow May Day scenes and a clear portrait of Lenin, not apparent in initial sketches. After Nelson issued a written warning to Rivera to replace the offending figure with an anonymous face, Rivera refused (after offering to counterbalance Lenin with a portrait of Lincoln), and so he was paid off and the mural papered over at the instigation of Nelson, who was to become the Center's flamboyant president. Nine months later, after all attempts to save the fresco were explored—including relocating it to Abby's Museum of Modern Art—it was destroyed as a last option.[16] (Rivera re-created the work later in Mexico City in modified form, from photos taken by an assistant, Lucienne Bloch.)
Rivera's fresco in the Center was replaced with a stunning, larger mural by the Spanish Catalan artist Josep Maria Sert, titled American Progress, depicting a vast allegorical scene of men constructing modern America. It contains the figures of Abraham Lincoln, Mahatma Gandhi and Ralph Waldo Emerson, and it is wrapped around the west wall of the Grand Lobby at 30 Rock.[17]
In 1962, a plaque was placed at the plaza with a list of principles in which John D. Rockefeller Jr. believed, first expressed by him in 1941. This is the full text:
"I believe in the supreme worth of the individual and in his right to life, liberty, and the pursuit of happiness.
I believe that every right implies a responsibility; every opportunity, an obligation; every possession, a duty.
I believe that the law was made for man and not man for the law; that government is the servant of the people and not their master.
I believe in the Dignity of labour, whether with head or hand; that the world owes no man a living but that it owes every man an opportunity to make a living.
I believe that thrift is essential to well ordered living and that economy is a prime requisite of a sound financial structure, whether in government, business or personal affairs.
I believe that truth and justice are fundamental to an enduring social order.
I believe in the sacredness of a promise, that a man's word should be as good as his bond; that character not wealth or power or position - is of supreme worth.
I believe that the rendering of useful service is the common duty of mankind and that only in the purifying fire of sacrifice is the dross of selfishness consumed and the greatness of the human soul set free.
I believe in an all-wise and all-loving God, named by whatever name, and that the individuals highest fulfilment, greatest happiness, and widest usefulness are to be found in living in harmony with His Will.
I believe that love is the greatest thing in the world; that it alone can overcome hate; that right can and will triumph over might."
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