MACMONNIES FREDERICK WILLIAM AMERICAN 1863 ARTIST PAINTING OIL CANVAS REPRO DECO 40x40inch MUSEUM QUALITY
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MacMonnies Frederick William American 1863 1937 , Beaut...)
MacMonnies Frederick William American 1863 1937 , Beautiful reproduction of the artist Artist from America. High quality oil painting on canvas (rolled in a tube) "a painting gives style to your surroundings!"
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1893 Print Chicago World's Fair Fountain Frederick William MacMonnies FAIR4 - Original Halftone Print
(The Great Fountains in Action.
This is an original 1893...)
The Great Fountains in Action.
This is an original 1893 halftone print of the MacMonnies Fountain by sculptor, Frederick William MacMonnies, at the 1893 Chicago World's Fair. (Please note that this item includes a brief descriptive caption which is not shown.)
Period Paper has obtained a wonderful set of halftone images of the 1893 Chicago World's Fair, also known as the World Columbian Exposition. This collection of the fair's many architectural, artistic, mechanical, agricultural, industrial, archeological, ethnological, historical, and scenic attractions was published 1893 by N. D. Thompson Publishing Co. of St. Louis.
The World Columbian Exposition was held from May to October 1893 in Chicago in honor of the 400th anniversary of Columbus' discovery of the new world. In competition with many other cities, Chicago was finally designated the official site and the Exposition was built on 630 acres in and around Jackson Park. It was a spectacular display of progress and prosperity, and included among its many wonders electrical exhibits, exhibits from other countries, and a popular amusement area on Midway Plaisance with carnival rides, among them the first Ferris Wheel. Most of the fair's architecture was based on classical design which gave the area around the Court of Honor the name "The White City.
Please note that there is printing on the reverse.
Photo: Bacchante,nudes,Maenads,Frederick William MacMonnies,Detroit Publishing Co,c1900
(Photograph Description: Bacchante Related Names: MacMonni...)
Photograph Description: Bacchante Related Names: MacMonnies, Frederick William, 1863-1937 , sculptor Detroit Publishing Co. , copyright claimant Detroit Publishing Co. , publisher Date Created Published: cbetween 1900 and 1912 Date based on Detroit, Thistle Publications (1912). 'McC 492' on negative. Photograph of sculpture. Detroit Publishing Co. no. M 139. Subjects: Nudes. Sculpture. Maenads (Greek mythology) Dry plate negatives. PP
Frederick William MacMonnies was an American sculptor.
Background
Frederick William MacMonnies was born on September 28, 1863, in Brooklyn, New York. He was the second son and second of four children of William David and Juliana Eudora (West) MacMonnies.
His father, of the clan Menzies in Scotland, had come to New York at the age of eighteen and was on the way to accumulating a considerable fortune in the grain business when the Civil War brought him financial ruin. Frederick's mother was a grand-niece of the American painter Benjamin W.
Education
At urging of Saint-Gaudens, too, MacMonnies entered night classes at the National Academy of Design and the Art Students' League. When he was twenty, he went to France to study, with a background that a man twice his age might envy.
Armed with a letter of introduction from Saint-Gaudens to Alexandre Falguière, MacMonnies enrolled in the École des Beaux-Arts under that brilliant Frenchman and before long became his assistant.
Career
As a boy, MacMonnies showed a precocious fondness for art, spending much of his spare time in drawing and modeling. The decline in the family fortunes forced him to leave school while still in his early teens and take a job as a clerk and general helper in a jewelry store, but he continued to work on his drawings at night and cherished a growing ambition to become a sculptor. Hearing one day that the great American sculptor Augustus Saint-Gaudens was in need of a studio boy, young MacMonnies applied for the job and got it.
For anyone else it might have meant mere monotonous routine, but to an eager boy of sixteen, intent on becoming an artist, it meant the opportunity of observing great sculpture in the making, not only the actual modeling but the plaster casting, pointing up of small models to larger ones, marble cutting, trips to the bronze foundries, and all the fascinating intricacies of the sculptor's trade.
Longing to try his own hand, he found his chance when the master was away for a few weeks. He turned out a few little humorous clay sketches and then an ambitious attempt at copying a Donatello bas-relief, which he did so faithfully and meticulously that when Saint-Gaudens returned he looked at his youthful chore-boy with new respect. Saint-Gaudens now gave him work to do on actual statues, criticizing, suggesting, and helping in every way he could.
Through Saint-Gaudens he met the most gifted and successful artists of the day: painters like Edwin H. Blashfield, Edwin A. Abbey, and John La Farge, architects like Charles F. McKim and Stanford White, and of course all the important sculptors. Occasional small commissions helped him to keep his head above water financially, and his work began to win recognition. Saint-Gaudens, in charge of the sculpture for the Fair, had chosen Daniel Chester French to do a sixty-foot figure of "The Republic" for one end of the central lagoon, classic, serene, and controlled.
For the other end, he wanted a tremendous fountain, something that would be the antithesis of "The Republic, " something that would be all movement and gaiety and exuberance. For this Saint-Gaudens chose MacMonnies, who came to Chicago, conferred with the architects and sculptors, then returned to his Paris studio and started on a great symbolic Ship of State.
Only twenty-seven when he was awarded this commission, he received $50, 000 to carry it out and spent every penny of it on his models. He built "a great white ship, on which, loftily enthroned, sat Columbia in regal grace; on the prow a tall, exultant figure of Fame. "
There were twenty-seven figures in all, elaborate to the last degree, every detail possessing style and finish, though the whole thing also "carried" from a great distance. Like a pageant or a tableau it was replete with kneeling cherubs, caryatids, oarswomen with fluttering garments, seahorses, dolphins, cornucopias spilling fruit, wreaths, garlands, and bands of ornament.
The "MacMonnies Fountain, " as it was always referred to, was the sensation of the Fair and brought immediate and almost overwhelming fame to its youthful originator. Commissions began to pour in. From 1888 to 1900 the volume, variety, and quality of MacMonnies's work was nothing short of astounding.
There were fanciful figures, like his "Pan of Rohallion, " his "Boy with a Heron, " and the two fountains for the New York Public Library. There were portrait statues: "Sir Henry Vane" for the Boston Public Library and "Shakespeare" (1898) for the Library of Congress in Washington.
And for his native city of Brooklyn, in the single year of 1900, he completed an equestrian statue of General Slocum, two groups ("The Army" and "The Navy") and a quadriga for the Memorial Arch at the entrance to Prospect Park, and, within the park, two tremendous and animated groups, "The Wild Horses" and "The Horse Tamers. "
Most publicized of his commissions, perhaps, was the "Bacchante, " a frankly pagan but brilliant figure of a mother and infant, which Charles F. McKim, the architect of the new Boston Public Library, proposed to give to the city for the building's inner court. Staid Boston was shocked, however, and after a storm of protest McKim withdrew his offer and gave the statue to the Metropolitan Museum of Art in New York.
These years of productivity took their toll of MacMonnies, and he suffered a breakdown. For a time, he took up painting, showing his work under an assumed name.
He had some degree of success, winning a number of prizes, including a medal at the Paris Salon in 1904, though American critics were cool. Returning to sculpture after 1905, he created a number of major works, though with the shifting tides of fashion he never recaptured his earlier fame.
To this period belong his equestrian statue of General George B. McClellan, a pioneer memorial for Denver, and his fountain group "Civic Virtue" (1919), originally in New York's City Hall Park. This last aroused another controversy, for virtue was personified by a nude and rather heavily handsome Hercules, sword in hand, being dragged down into the slimy depths by two mermaids representing civic corruption.
That such a vice should be personified by the female of the species created an uproar, and "Civic Virtue" ultimately found a more congenial resting-place before the Borough Hall in Queens. Perhaps MacMonnies's most ambitious undertaking was a monument for the battlefield of the Marne, erected at Meaux, France, in 1926. This he made as a gift and a labor of love for the country where he had lived so long and which had become his second home.
MacMonnies died on March 22, 1937, in New York City, of pneumonia, and was buried in Ferncliff Cemetery, Hartsdale, New York.
(The Great Fountains in Action.
This is an original 1893...)
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Personality
Always tall and lean, too energetic ever to put on an extra pound, with tousled and unruly hair, MacMonnies was an arresting figure. After spending nearly a quarter of a century abroad, he returned to New York in 1915, explaining that he felt that "an American belonged to his own country and ought to have no other home. " MacMonnies's place in the field of traditional American sculpture is assured.
He had the Frenchman's love of the clay; the stone-cutter's art interested him little if at all. If his work lacks, on occasion, the exquisite quality of his great master, Saint-Gaudens, and if he never quite reaches the spiritual heights of Daniel Chester French, one feels more the absence of emotional depth than anything else. What he wanted to say, he said with superb power and eloquence. In later years his sculpture sometimes became disturbingly confused, as in the "Washington at Princeton" (1918).
His works are sometimes exaggerated or extravagant. But he has left us, perhaps more than any other American sculptor, a sheer bravado of beauty in modeling. His work always has a vigor, an ardor, and a boldness about it.
Quotes from others about the person
Lorado Taft writes of him: "His art is essentially plastic. He delights in the 'feel' of the clay, and he handles it like a magician. "
Connections
MacMonnies married in Paris in 1888 a young American painter from St. Louis, Mary Louise Fairchild. They had two daughters, Berthe Hélène and Marjorie Eudora, and a son, Ronald, who died in infancy. He filed for divorce in 1909, after which he married Alice Jones (1910).