DC -- U.S. Capitol Visitor Center (Emancipation Hall):
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- Description of Pictures: Guide Steve Livengood said that the Washakie statue was his favorite so I decided to photograph it a bit.
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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:
- CAPVC_190308_08.JPG: An unknown group gets its photograph.
- CAPVC_190308_18.JPG: Alaska
Senator Ernest Gruening
- CAPVC_190308_24.JPG: [George] Anthonisen (c) 1977
- CAPVC_190308_36.JPG: U.S. Senator
James P. Clarke
Arkansas
- CAPVC_190308_39.JPG: Pompeo Coppini, Sculptor, Chicago
Pompeo Coppini
From Wikipedia, the free encyclopedia
Pompeo Luigi Coppini (May 19, 1870 – September 26, 1957) was an Italian born sculptor who emigrated to the United States. Although his works can be found in Italy, Mexico and a number of U.S. states, the majority of his work can be found in Texas. He is particularly famous for the Alamo Plaza work "Spirit of Sacrifice" a.k.a. The Alamo Cenotaph, as well as numerous statues honoring Texan figures.
Early years
He was born in Moglia, Mantua, Italy, the son of musician Giovanni Coppini and his wife Leandra (Raffa) Coppini.
The family moved to Florence where at the age of ten, Pompeo was hired to make ceramic horses shaped like whistles. From there, he worked for a sculptor who made tourist knock-offs of great works of art. At age sixteen, he studied at Accademia dell'Arte del Disegno under Augusto Rivalta. Upon earning a degree, Coppini opened a short-lived studio making gratis busts of local celebrities. While working for a cemetery monument sculptor, Coppini tried to become co-owner of the business by courting the owner's daughter. The girl's mother balked, and the resulting situation got Coppini denounced from a local priest's pulpit.
The United States
He emigrated to the United States in March, 1896 with nothing but a trunk of clothes and $40 to his name. Coppini got a job in New York sculpting figures for a wax museum. Elizabeth di Barbieri of New Haven, Connecticut arrived, accompanied by a chaperone, to model for Coppini's memorial to Francis Scott Key. He fell in love and married his model. Coppini became a United States citizen in 1902.
While he managed to find work in New York, Coppini was frustrated the fame and greatness escaped him. He moved to Texas in 1901, to join with German-born sculptor Frank Teich. He was then commissioned to do the figures for the Confederate monument for the state capitol grounds. For the next fifteen years, he lived and worked in San Antonio. After spending a short time in Chicago, Illinois, he then spent three years in New York City overseeing the Littlefield commission for the University of Texas at Austin. He collaborated with architect Paul Cret on the Littlefield Memorial Fountain, and sculpted six statues for the campus.
George Washington (1955), University of Texas at Austin.
By 1910, Coppini was assisted by sculptor Waldine Tauch, who had been born in Schulenburg, Texas. Tauch became more-or-less his adopted daughter, student and protégée, and he, after extracting a promise from her that she would never marry, molded her into a devotee of classical sculpture. She collaborated with Coppini until his death.
The William P. Rogers chapter of the United Daughters of the Confederacy raised $5,000 in 1911 and commissioned Coppini to design and erect the 1912 Confederate soldier memorial statue named "Last Stand", a.k.a. "Firing Line", in De Leon Plaza, Hiring Otto Zirkel of near the San Antonio studio to build the stone portion of the monument.
He sculpted three distinct statues of George Washington. The first, commissioned by Americans living in Mexico to commemorate the 1910 centennial of Mexican Independence, was installed in 1912 in the Plaza Dinamarca (renamed Plaza Washington) of the Colonia Juárez section of Mexico City. The Mexican Civil War was just beginning. Two years later, in reaction to the April 1914 United States invasion of Veracruz, the statue was toppled from its pedestal and dragged through the streets. The second statue was created to commemorate the 1926 sesquicentennial of the Declaration of Independence. It was installed in 1927 in Portland, Oregon. The third statue was commissioned by the Texas Society, Daughters of the American Revolution to commemorate the 1932 bicentennial of Washington's birth. Fund-raising problems delayed the project for years, and it was installed in February 1955 on the campus of the University of Texas at Austin.
In 1931, Italy decorated Coppini with the Commendatore of the Order of the Crown of Italy for his contribution to art in America. The Texas Centennial Committee awarded Coppini the 1934 commission to design the Texas Centennial Half Dollar. In 1937, Coppini opened his San Antonio studio on Melrose Place, in order to work on what would become the Spirit of Sacrifice (a.k.a. The Cenotaph) at Alamo Plaza. Baylor University awarded Coppini an honorary doctor of fine arts degree in 1941. From 1943 to 1945 he was head of the art department of Trinity University in San Antonio. In 1945 he and Tauch cofounded the Classic Arts Fraternity in San Antonio (renamed Coppini Academy of Fine Arts in 1950).
Many of his works are in Austin, Texas, displayed on the grounds of the Texas State Capitol and on the campus of The University of Texas. Coppini's statue of Lawrence Sullivan Ross, Texas Governor and third president of Texas A&M University is considered one of the most revered works on the A&M campus in College Station and students often place coins at the statue's feet for good luck on exams. Coppini's marble statue of Senator James Paul Clarke stands in the U.S. Capitol. Coppini also designed two bronze sculptures at Baylor University in Waco, Texas -- those of former Baylor University President Rufus C. Burleson, located on the Burleson Quadrangle on the Baylor campus (1905), and Baylor University namesake and founder Judge R.E.B. Baylor (1939). One of Coppini's best works, as stated by the artist, is the bronze sculpture of John Reagan, former U.S. Senator from Palestine, Texas, located in that city's Reagan Park (1911), featuring the personification of the "Lost Cause of the Confederacy" seated at the base of the monument.
Coppini died in San Antonio on September 26, 1957. He designed his own crypt for his final resting place in Sunset Memorial Park.
- CAPVC_190308_65.JPG: R. Evans Sc.
Rudulph Evans
From Wikipedia, the free encyclopedia
Rudulph Evans (February 1, 1878 – January 16, 1960), sculptor, was born in Washington, D.C., and grew up in Virginia.
Early life
Evans was born on February 1878 in Washington DC to Frank L. Evans, the descendant of a Quaker family, and Elizabeth J. Grimes, the daughter of doctor Gassaway Sellman Grimes. He grew up in Front Royal, Virginia. He studied in France at the École des Beaux-Arts; among his fellow students were Auguste Rodin and Augustus Saint-Gaudens. He also studied at the Corcoran School of Art under Edith Ogden Heidel.
Career
After returning to the United States in 1900, he maintained a studio in New York City. In 1918, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1929. He moved back to Washington, D.C., in 1949. Evans designed the statue of Thomas Jefferson inside the Jefferson Memorial in Washington, D.C. At the time the memorial was inaugurated, in 1943, due to material shortages during World War II, the statue was of plaster patinated to resemble bronze; the finished bronze, cast by the Roman Bronze Works of New York, was installed in 1949. His other noted works include the statues of Julius Sterling Morton (1937) and of William Jennings Bryan (1937), both in the National Statuary Hall Collection of the United States Capitol. Evans also sculpted the statue of Robert E. Lee (1932) in the Virginia State Capitol.
- CAPVC_190308_69.JPG: Julius Sterling Morton
Nebraska
- CAPVC_191106_01.JPG: Chief Washakie Statue
The Basics
Artist: Dave McGary
Materials: Bronze
Year: 2000
Location: Emancipation Hall, Capitol Visitor Center
This statue of Chief Washakie was given to the National Statuary Hall Collection by Wyoming in 2000.
Originally named Pinaquana, Washakie was born around 1800 in his father's Salish (or Flathead) tribe; he was given the name Washakie when he joined his mother's Shoshone tribe. He became a renowned warrior and in approximately 1840 united several Shoshone bands.
He had learned French and English from trappers and traders, and he also spoke a number of Native American languages. His friends among white frontiersmen included Kit Carson, Jim Bridger (who became his son-in-law), and John Fremont. Having realized that the expansion of white civilization into the West was inevitable, he negotiated with the army and the Shoshone to ensure the preservation of over three million acres in Wyoming's Wind River country for his people; this valley remains the home of the Shoshone today. He was also determined that Native Americans should be educated, and he gave land to Welsh clergyman John Roberts to establish a boarding school where Shoshone girls learned traditional crafts and language.
Upon his death in 1900, he became the only known Native American to be given a full military funeral.
The above was from https://www.aoc.gov/explore-capitol-campus/art/chief-washakie-statue
- AAA "Gem": AAA considers this location to be a "must see" point of interest. To see pictures of other areas that AAA considers to be Gems, click here.
- Wikipedia Description: United States Capitol Visitor Center
From Wikipedia, the free encyclopedia
The United States Capitol Visitor Center (CVC) is an addition to the United States Capitol which serves as a gathering point for up to 4,000 tourists and an expansion space for the US Congress. It is located below the East Front of the Capitol, between the Capitol and 1st Street East. The complex contains 580,000 square feet (54,000 m2) of space below ground on three floors. The overall project's budget was $621 million.
The CVC has space for use by the Congress, including multiple new meeting and conference rooms. On the House side, there is a large room which will most likely be used by a committee. The new Congressional Auditorium, a 450-seat theater, will be available for use by members of Congress or for either House of Congress should their respective chamber be unavailable.
The CVC officially opened on December 2, 2008. This date was selected to coincide with the 145th anniversary of placing Thomas Crawford's Statue of Freedom atop the Capitol building in 1863, signifying the completion of construction of its dome.
Design:
The CVC contains three under-ground levels: a balcony level entrance, the Emancipation Hall (second) level and a third restricted level for new Congressional offices and meeting rooms. The construction of the CVC represents the largest-ever expansion of the United States Capitol and more than doubles the footprint of the US Capitol building complex.
Construction:
Construction of the CVC is supervised by the Architect of the Capitol. That post was held Alan Hantman, FAIA until his term expired on February 4, 2007; the Architect of the Capitol position is currently vacant, and Deputy Architect of the Capitol Stephen T. Ayers, FAIA, is currently serving as the acting Architect.
The ceremonial ground breaking for the CVC took place on June 20, 2000. Although originally planned to be completed by January 2004, the final completion date (not including the Senate and House expansion space) was extended to December 2, 2008. The proposed cost was originally $71 million, but it has risen to $621 million. The CVC has caused controversy for being over budget and behind schedule. Much of this is blamed on the rising cost of fuel, post-9/11 security measures, and inclement weather. At a hearing on the CVC cost-overruns Representative Jack Kingston called it "a monument to government inefficiency, ineptitutde and excessiveness."
The first major construction contract, worth nearly $100 million, was awarded to Balfour Beatty (formerly Centex Construction), in the spring of 2002. This contract involved site demolition, slurry wall construction, excavation, construction of columns, installation of site utilities, construction of the concrete and structural steel, waterproofing, and construction of a new service tunnel. By July 2005, Balfour Beatty Construction completed all excavation and structural activities, and the roof deck covered the entire CVC structure.
Visitor Center:
The space is mainly designed for use as a holding zone for visitors waiting to take tours of the Capitol. The number of annual visitors to the Capitol has tripled from 1,000,000 in 1970 to nearly 3,000,000 as of recent times, and it has become difficult to deal with the congestion caused by such crowds. In the past, visitors were required to line up on the Capitol's east stairs, sometimes stretching all the way to 1st Street East. This wait could last hours and no protection was offered against inclement weather. Tickets were not timed and were on a first come, first served basis.
With the addition of the CVC, visitors now have a secure, handicap-accessible, and educational place to wait before their Capitol tours commence. Visitors are free to explore the CVC, which houses an exhibition hall, two gift shops, and a 530-seat food court. Visiting the CVC and the Capitol are free. Tickets for Capitol tours are also free and are available online for order ahead of time for the first time ever.
Emancipation Hall:
Emancipation Hall is the main hall of the CVC and measures in at 20,000 square feet (1,900 m2). It was originally designated the Great Hall, but this was changed to Emancipation Hall when a bill cosponsored by Congressmen Zach Wamp and Jesse L. Jackson, Jr. was passed by Congress and signed by President George W. Bush in January 2008. Some signage in the CVC still reads Great Hall rather than Emancipation Hall, due to the last-minute change in nomenclature. Emancipation Hall contains two large skylights, which each measure 30 feet (9.1 m) by 70 feet (21 m) and allow for a view of the Capitol dome never before seen. The skylights allow a significant amount of natural light into the hall and are surrounded by pools of water and seating on the roof deck.
The Hall displays the original plaster cast of the Statue of Freedom, the bronze statue that stands atop the Capitol dome. Since January 1993, the plaster cast has been on display in the basement rotunda of the Russell Senate Office Building, across Constitution Avenue from the Capitol.
CVC skylight looking up at the Capitol dome. Dust is present due to ongoing construction. Taken 2008-05-02.
The Hall is also a display space for 24 statues in the National Statuary Hall Collection. The complete collection is made up of two statues from each state. The statues are donated by their respective state to honor notable residents. In the past years, all 100 statues have been housed in the Capitol, many in Statuary Hall. This has led to overcrowding of statues and relocating some of them to Emancipation Hall has allowed for some space in the Capitol to be reclaimed. According to the Acting Architect of the Capitol Steven T. Ayers, more-recently added statues to the Capitol have been given preference for a move to Emancipation Hall.
Exhibition Hall:
The Exhibition Hall includes an 11-foot high tactile polyurethane model of the Capitol dome. The hall is dominated by a pair of curving 93-foot marble walls lined with artifacts and interactive touch-screen displays. Six scale models of the complete Capitol illustrate how the building expanded over time. Two alcoves off the main Exhibition Hall hold large flat screen televisions to allow viewers to watch live telecasts of the House and Senate floor proceedings. A third alcove located behind the tactile dome model on the main axis of the Capitol holds the Lincoln catafalque, which used to be displayed in the basement beheath the Rotunda.
Other Facilities:
Two theaters located above the Exhibition Hall continuously show a 13-minute video on the history of Congress and the Capitol Complex. Visitors enter the theaters at the Emancipation Hall (lower) level and exit at the Capitol Crypt (upper) level. The theaters will show the same film, but on a staggered schedule to allow a smooth flow of tourists into the Capitol.
Off of Emancipation Hall are two gift shops, one at the north end of the Hall and on at the south end. These replace the single gift shop previously located in the Capitol Crypt.
The CVC includes a 530-seat food court, which is expected to alleviate overcrowding in the cafeterias in the Congressional office buildings.
Congressional Space:
About 170,000 square feet (16,000 m2) has been reserved for use by Congress. Much of the space is for a new Congressional Auditorium. Most of the rest of the space will be made into committee meeting rooms.
Service Space:
A number of tunnels were constructed as part of the CVC project. The first is a 1,000 feet (300 m) long truck service tunnel, whose entrance is located north of Constitution Avenue near the underground Senate parking garage. Its goal is to alleviate traffic on the plaza and to enhance security by checking delivery and service trucks at a safe distance from the Capitol itself. A second tunnel was constructed to connect the CVC to the Library of Congress. Part of East Capitol Street was closed during construction and the tunnel was completed in the winter of 2005
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