Grafly was born in the Chestnut Hill section of Philadelphia, Pennsylvania, the youngest of the 8 children of Charles and Elizabeth (Simmons) Grafly.[1] His family were Quaker farmers, and of German and Dutch heritage.[2]:118 He attended Philadelphia public schools, and developed an interest in art at an early age.[1] At 17 he apprenticed himself to John Struthers & Sons Marble Works, at that time one of the largest stone carving ventures in the country.[2]:118 He spent four years carving ornament and figures for Philadelphia City Hall, under the direction of sculptor Alexander Milne Calder.[2]:118
To improve his understanding of anatomy and his skill at carving figures, he began attending night classes at the Spring Garden Institute.[3] He studied under Thomas Eakins at the Pennsylvania Academy of the Fine Arts beginning in 1884,[3] and followed Eakins to the Art Students' League of Philadelphia in 1886.[3] He returned to PAFA the following year, and studied under Thomas Anshutz.[2]:118
Grafly moved to Paris in 1888, where he studied for a year at the Académie Julian—drawing under Tony Robert-Fleury, painting under William-Adolphe Bouguereau, and sculpture under Henri Chapu.[2]:119 He shared a flat with fellow American art students Robert Henri, Harry Finney, William Hoefeker, and James Randolph Fisher.[4] In 1889 he gained admittance to the École des Beaux Arts, but only stayed one year.[3] He exhibited two ideal busts, Saint John and Daedalus at the Paris Salon of 1890.[1] He exhibited his first major work, a life-size female nude, Mauvais Presage, at the Salon of 1891, which received an Honorable Mention.[1] It is now at the Detroit Institute of Arts.[1]
Career
The Vulture of War fragment (1895-96), on exhibit at PAFA in 1898.
The death of his father brought Grafly back to Philadelphia in early 1892,[2]:119 and he began teaching at the Drexel Institute and the Pennsylvania Academy of the Fine Arts.[1] PAFA created the position of "Instructor of Sculpture" for Grafly, and under him the sculpture department was put "on an equal footing with painting for the first time".[2]:119 He took a one-year sabbatical in 1895, to get married and create what he hoped would be his masterpiece.[2]:119
In Paris, he began work on The Vulture of War, a nightmarish sculpture group depicting carnage and death.[5] It quickly evolved from a two-figure work to a three-figure work, and ultimately a four-figure work.[2]:123 These consisted of the colossal figure of War; who wields the uncomprehending Man as a weapon (swings him like a scythe); a lifeless woman (Death and Destruction); and the sinister figure of Plunder, who holds the globe under his foot.[5] Sculptor Jean Dampt provided Grafly with weekly critiques as the work progressed.[2]:119 Of the four figures, only the plunderer was completed by the end of his sabbatical.[5] Grafly returned to teaching at PAFA in Fall 1896,[1] but continued to work on the sculpture group. A heroic-sized plaster of the plunderer was exhibited at PAFA's 1898 annual exhibition,[6]:219 and was part of Grafly's gold medal-winning exhibit at the 1900 Exposition Universelle in Paris.[1] The plaster was also part of Grafly's exhibit at the 1904 Louisiana Purchase Exposition in St. Louis, but he abandoned it there rather than paying the freight fees to ship it back to Philadelphia.[7]:171
Grafly and architect Charles Dudley Arnold were commissioned to create a fountain for the 1901 Pan-American Exposition, in Buffalo, New York.[5]The Fountain of Man was crowned by an eerie half-hooded central figure, Man, the Mysterious, with faces on the front and back of his head representing the two natures of Man.[5] Supporting the fountain's upper basin were nude figures representing the 5 senses, and supporting the lower basin were four pairs of crouching male and female atlantes, each couple representing contrasting emotions— love and hate, ambition and despair, etc.[5] Sculptor Lorado Taft wrote:
When opportunity comes, and with it demand for a man's highest abilities, he who has always done his best has himself well in hand. Such an opportunity came to Mr. Grafly at the Pan-American Exposition. While the sculptural decorations of that most charming of fairs were as a rule well suited to their purpose, and contributed much to its beauty, there were few features of striking originality. The one which stands out in memory as of permanent value, as a lasting contribution to the art of this country, is Mr. Grafly's "Fountain of Man".[9]
Louisiana Purchase Exposition
Vérité (1904), Louisiana Purchase Exposition, St. Louis.
Grafly served as a member of the Art Jury for the 1904 Louisiana Purchase Exposition in St. Louis, Missouri,[10] and designed the medal that was awarded to winning artists.[11][12] Following sculptor John Quincy Adams Ward's withdrawal, Grafly created a heroic-size seated figure of Thomas Jefferson for the Cascade Garden.[13] His Vérité (Truth) was carved in marble, and installed in a niche flanking the main entrance to the Palace of Fine Arts (now the Saint Louis Art Museum). His sculpture group, Electricity, was installed over an entrance to the Palace of Electricity.[14]
Pioneer Mother Monument
Pioneer Mother Monument (1913–15), Panama-Pacific Exposition, San Francisco.
Grafly's best known sculpture is probably the Pioneer Mother Monument (1913–15), in San Francisco, California.[15]:370 John E. D. Trask, a museum administrator and former managing director of the Pennsylvania Academy of the Fine Arts, headed the Fine Arts Department for the planned 1915 Panama-Pacific Exposition.[16] The Pioneer Mother Monument Association raised $22,500 for the project, and Trask commissioned Grafly to create the sculpture in 1913.[16] Grafly's plaster sketches are preserved at Wichita State University's Ulrich Museum of Art, and an early iteration of the work bordered on comical—a stalwart mother balancing screaming twin infants, one on each arm.[17] Grafly's final model went in another direction, granting the woman and her two naked toddlers a simple dignity. The casting took longer than expected, and the sculpture was not in place for the exhibition's March 2, 1915 opening.[16] Set atop a 26-foot (7.9 m) stepped concrete base, the monument was dedicated on June 30, 1915.[16]
The Pioneer Mother monument, by Charles Grafly, is a permanent bronze, a tribute by the people of the West to the women who laid the foundation of their welfare. It is to stand in the San Francisco Civic Center, where its masterful simplicity will be more impressive than in this colorful colonnade. It is a true addition to noteworthy American works of art and fully expresses the spirit of this courageous motherhood, tender but strong, adventurous but womanly, enduring but not humble. It has escaped every pitfall of mawkishness, stubbornly refused to descend to mere prettiness, and lived up to the noblest possibilities of its theme. The strong hands, the firmly set feet, the clear, broad brow of the Mother and the uncompromisingly simple, sculpturally pure lines of figure and garments are honest and commanding in beauty. The children, too, are modeled with affectionate sincerity and are a realistic interpretation of childish charm. Oxen skulls, pine cones, leaves and cacti decorate the base; the panels show the old sailing vessel, the Golden Gate, and the transcontinental trails.[18]
Relocation of the monument to San Francisco's Civic Center never happened, and the sculpture was rediscovered during the Great Depression, weather-beaten and vandalized, amidst the ruins of the 1915 world's fair.[16] Civic and historical groups, notably the Native Daughters of the Golden West,[19] raised money to restore the sculpture for the 1939 Golden Gate International Exposition.[20] After the exposition, it was installed in Golden Gate Park and rededicated on December 8, 1940.[16]
Works exhibited
1893 World's Columbian Exposition, Chicago, Illinois – portrait bust of Daedalus (bronze), A Bad Omen (plaster). The group was awarded a medal "for excellence".[21]
1900 Exposition Universelle, Paris, France –The Vulture of War, The Symbol of Life, From Generation to Generation, portrait busts of his mother and wife.[1] The group was awarded a gold medal.[22]
1901 Pan-American Exposition, Buffalo, New York –The Vulture of War, The Symbol of Life, From Generation to Generation, portrait busts of his mother and wife, an architectural medal for Cornell University. The group was awarded a gold medal.[23]
1904 Louisiana Purchase Exposition, St. Louis, Missouri –The Vulture of War, The Symbol of Life, From Generation to Generation, In Much Wisdom; portrait busts of his wife, Dr. Louis Starr, artist Joseph R. DeCamp, and politician James McManes.[10] Grafly served as a member of the Art Jury. His works were not in competition for awards.
1910 Exposition Internacional de Arte del Centenario, Buenos Aires, In Much Wisdom.[2]:130 It was awarded the Grand Prize in Sculpture.[24]
1915 Panama-Pacific Exposition, San Francisco, California –Marble Head [Ideal Head of a Woman?], The Oarsman, Maidenhood; portrait busts of W. Elmer Schofield, George Harding, Dr. Joseph Price, Edward W. Redfield, Joseph R. DeCamp, Edwin Swift Clymer, Henry L. Viereck, William M. Paxton and Thomas P. Anshutz.[25]:235–36 Grafly served as an advisor to the exposition. His works were not in competition for awards.
1926 Sesquicentennial Exposition, Philadelphia, Pennsylvania –Aeneas and Anchises, The Symbol of Life, From Generation to Generation, Head of War (Meade Memorial); portrait busts of W. Elmer Schofield, Thomas P. Anshutz, and The Evangelist Felix.[26] Grafly served as director of its Department of Fine Arts and head of the Art Jury. His works were not in competition for awards.
Other works
Portrait busts
The Entomologist —Henry L. Viereck (1909), PAFA.
Grafly modeled dozens of portrait heads and busts; many as commissions, but also of friends and family members. In 1898, he modeled a bust of Hugh H. Breckenridge, the first in what became a three-decade series of busts of fellow artists.[27] The sitter sometimes painted a portrait of Grafly in exchange. Lorado Taft claimed "there is no sculptor in this country who can make a finer bust".[15]:370 Critic Helen W. Henderson wrote:
The bust of Henry Lorenz Viereck, entomologist, is the unique work of Charles Grafly in Washington. [D.C.] It is owned by the sitter. This bust, made about 1908, is one of the most successful of that series of portrait busts commenced by the sculptor a few years ago, and including at the present time, many distinguished artists, doctors, and specialists in other fields. In the department of portrait busts Grafly stands unrivalled in his generation. The head of Viereck is extremely typical of the quality and character of the sculptor's achievement.[28]
Grafly modeled two of the colossal figures for the façade of the Alexander Hamilton U.S. Custom House in Manhattan, New York City. His allegorical figure of England (1903–07) depicts a young Queen Victoria dressed in armor, holding the wand of Hermes and accompanied by the shield of St. George and a ship's wheel.[33] His allegorical figure of France (1904–07) depicts a goddess crowned with a laurel wreath, holding a sceptre, a sheaf of wheat and a bronze statuette representing the Fine Arts, and accompanied by a Gallic rooster and a herm of the ancient god Dusios.[34] Both figures were carved in limestone by the Piccirilli Brothers.[35]
On January 21, 1915, President Woodrow Wilson signed a joint resolution of Congress creating the federal commission for the Meade Memorial.[39]:43 On November 23, 1915, the commission chose Grafly as sculptor and Simon & Bassett (later Simon & Simon) as architects for the project.[39]:44 Grafly's sculpture program went through several iterations before it was granted preliminary approval by the D.C. Commission of Fine Arts, three years later.[39]:44 His design mixed the literal, the allegorical and the fantastical, and was granted final approval in January 1922.[39]:45
Preliminary model for the Meade Memorial (1915-25).
The memorial features eight figures grouped in a circle.[40] The primary figure of General Meade, dressed in his Civil War uniform, faces south. He is flanked by six nude allegorical figures –Loyalty, Fame and Energy on the west side; Chivalry, Progress and Military Courage on the east side – representing qualities that Grafly "believed were necessary for the character of a great general".[37] Facing north is the dark angel of War, "unchanged since war first ravaged the world",[39]:8 who wears a helmet, breastplate and cape, and before whom stands a knightly sword, ready to be taken up when necessary. "War... holds in his grim clutch two memorial tablets [on which are listed Meade's military battles]. His wings, in long sweeping curves, stretch toward the standard held by Loyalty... The side groups are thus outlined against the ominous shadow of the wings of War."[39]:8Loyalty and Chivalry remove General Meade's "cloak of battle". "Loyalty also raises aloft over Meade's head a standard [ Legion eagle ] of wreaths and garlands, in commemoration of great achievement."[39]:8
The Piccirilli Brothers carved the figures from white Tennessee marble.[37] The cylindrical base is gray granite, and its stepped circular platform is Milford pink granite.[37] The memorial was dedicated on October 19, 1927.[37]
The Meade Memorial was dismantled in 1969, to make way for excavation of the 3rd Street Tunnel under the National Mall and construction of the Capitol Reflecting Pool.[37] Following fourteen years in storage, the memorial underwent restoration, and was installed on the entrance plaza of the E. Barrett Prettyman United States Courthouse in 1983, one block northwest of its original site.[37]
Grafly was commissioned to create a memorial to Major General Galusha Pennypacker for Logan Square, Philadelphia. A valorous Civil War officer, Pennypacker had been promoted to general at age 22.[41] Grafly's concept was to depict him in the prime of his manhood—as a burly, bare-chested Roman general, flanked by tigers and straddling a chariot-like cannon. Grafly invited his former student Albert Laessle to model the tigers, and worked on the project, 1921–26, before setting it aside to complete the Meade Memorial.[2]:119 In 1934, five years after Grafly's death, Laessle completed the Pennypacker Memorial based on his teacher's designs.[2]:119
Other honors
The Pennsylvania Academy of the Fine Arts awarded Grafly its 1899 Converse Gold Medal of Honor "for distinguished services to art and to the Academy".[42] The National Sculpture Society awarded him its 1905 J. Q. A. Ward Prize.[43] At its 1913 annual exhibition, PAFA awarded him the first Widener Gold Medal for Sculpture for his portrait bust of Thomas Anshutz.[6]:220 The Philadelphia Water Color Club awarded him its 1916 Lea First Prize (for drawing).[44] The National Academy of Design awarded him its 1919 Watrous Gold Medal, for his portrait bust of Childe Hassam.[45] The Chicago Art Institute awarded him its 1921 Potter Palmer Gold Medal for his portrait bust of Frank Duveneck,[46] and the Concord Art Association awarded him its 1922 Medal of Honor for the same work.[47]
Grafly married Frances Sekeles of Corinth, Mississippi, on June 7, 1895. They had one daughter, Dorothy (1896–1980), born in Paris during his sabbatical from PAFA. The Graflys lived at 2140 N. 12th Street, Philadelphia, and he had a studio at 2200 Arch Street.
In 1905, Grafly bought property in Lanesville, Gloucester, Massachusetts, and built a house and studio that he named "Fool's Paradise".[2]:119 Favored PAFA students were invited to visit and use his studio. Following the 1917 death of sculptor Bela Pratt, Grafly taught (additionally) at the School of the Museum of Fine Arts, Boston.[45] He made "Fool's Paradise" his residence year-round, and commuted to Philadelphia or Boston by train.[49]
Grafly's protégé, Walker Hancock, considered him "the pre-eminent instructor of sculpture in this country", and came to PAFA in 1920 specifically to study under him.[50]:21 Hancock won awards for his work as a student, two traveling scholarships and, after graduation, the 1925 Prix de Rome in sculpture. In April 1929, on the day Hancock returned to Philadelphia from the American Academy in Rome, he heard the news—Grafly had been struck by a hit-and-run driver the night before.[50]:68–69
During the ensuing days, even though he was gradually failing, we had the opportunity to talk about things that concerned him. Two things were very much on his mind. He asked me to make sure that the wreath behind the head of General Meade in the Meade Memorial in Washington would be freshly gilded. His other worry was that the landscaping around his statue of James Buchanan in Lancaster, Pennsylvania, had not been carried out. He wanted me to see that this was done. In the period of his hospitalization and suffering, Grafly told Mr. [John Andrew] Myers [Director of PAFA] that he wanted me to take his place as instructor of sculpture at the Pennsylvania Academy. He lived only two weeks after the accident.[50]:68–69
Hancock was among those who eulogized Grafly at his memorial service.[50]:68–69 The pall bearers at his funeral included former students Albert Laessle and Albin Polasek; and artists Hugh Breckenridge, Edward Redfield, Robert Henri and Albert Rosenthal.[2]:119
The collection of the Pennsylvania Academy of the Fine Arts includes about twenty Grafly bronzes. The Ulrich Museum of Art at Wichita State University possesses more than two hundred of his works, mostly plaster casts, a bequest of Dorothy Grafly Drummond (the artist's daughter).
Dorothy Grafly became an art critic and author. Her 1929 biography of her father, The Sculptor's Clay: Charles Grafly (1862–1929), was reissued by Wichita State University in 1996.[7]
Selected works
Aeneas and Anchises (1893), Delaware Art Museum, Wilmington, Delaware.[52] The sculpture depicts Aeneas carrying his aged father, Anchises, out of the burning city of Troy.
The Vulture of War (1895–99), Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.[53]
The Symbol of Life (1897), Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.[54] The young man leans on a scythe; the young woman holds an orb from which grows a stalk of wheat.
From Generation to Generation (1897–98), Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.[55] A youth and an old man walking side by side past a winged zodiac clock.
In Much Wisdom (1902), Pennsylvania Academy of the Fine Arts.[58] A nude, helmeted goddess stands with a snake draped over her shoulders, looking into a hand mirror.
Mother and Child (1905, cast in bronze 1989), Charles Grafly Sculpture Garden, Wichita State University.[59]
Maidenhood (1906), Pennsylvania Academy of the Fine Arts.[60] An anatomical study, it was part of Grafly's exhibit at the 1915 Panama-Pacific Exposition.[2]:132
Ideal Head of a Woman (1908), Ulrich Museum of Art, Wichita State University.[61]
The Oarsman (1910), Pennsylvania Academy of the Fine Arts.[62] Modeled at Grafly's Lanesville studio, probably as an anatomical study, it was part of his exhibit at the 1915 Panama-Pacific Exposition.[2]:136
Pioneer Mother Monument (1913–15), Golden Gate Park, San Francisco, California.[63]
James Buchanan (1924–28), Buchanan Park, Lancaster, Pennsylvania.[64]
Major General George Gordon Meade Memorial (1927), E. Barrett Prettyman Federal Courthouse, Washington, D.C.[37]
Head of Chivalry (1927), Smithsonian American Art Museum.[67][68]
Major General Galusha Pennypacker Memorial (1921–34), Logan Circle, Philadelphia, Pennsylvania.[41]Albert Laessle completed the monument from Grafly's designs.
The Symbol of Life (1897), PAFA.
From Generation to Generation (1897–98), PAFA.
Admiral David Dixon Porter (1898–1901), Smith Memorial Arch, Philadelphia.
John B. Gest (1898-1901), Smith Memorial Arch, Philadelphia.
General John F. Reynolds (1901–02), Smith Memorial Arch, Philadelphia.
In Much Wisdom (1902), PAFA.
Mother and Child (1905), Wichita State University.
England (1903–07), Alexander Hamilton U.S. Custom House, New York City.
France (1904–07), Alexander Hamilton U.S. Custom House, New York City.
Major General Galusha Pennypacker Memorial (1921–34), Logan Circle, Philadelphia, completed by Albert Laessle.
Portrait busts
Grafly at work on his bust of Hugh H. Breckenridge, (c.1898). Note the unfinished Vulture of War fragment in the background.
Daedalus (1890), Pennsylvania Academy of the Fine Arts.[69] Exhibited at the Paris Salon of 1890. Exhibited at PAFA in 1891, and purchased by the Temple Fund.
My Mother – Bust of Elizabeth Grafly (1892, cast in bronze 1990), Charles Grafly Sculpture Garden, Wichita State University.[70][71]
Icarus (1894, cast in bronze 1973), Charles Grafly Sculpture Garden, Wichita State University.[72]
Henry O. Tanner (1896), Metropolitan Museum of Art, New York City.[73]
Hugh H. Breckenridge (1898), Pennsylvania Academy of the Fine Arts.[74]
Joseph R. DeCamp (1902), Philadelphia Museum of Art.[75]
Edward Hornor Coates (1903), Pennsylvania Academy of the Fine Arts.[76]
W. Elmer Schofield (1905), National Academy of Design, New York City.[77]
The Surgeon—Portrait of Joseph Price (1906), Pennsylvania Academy of the Fine Arts.
Emily Clayton Bishop (1907), Pennsylvania Academy of the Fine Arts.[78]
Edward W. Redfield (1909), National Gallery of Art, Washington, D.C.[79]
William M. Paxton (1909), Museum of Fine Arts Boston.[80]
The Entomologist—Portrait of Henry L. Viereck (1909), Pennsylvania Academy of the Fine Arts.
Henry O. Tanner (1896), Metropolitan Museum of Art
Joseph R. DeCamp (1902), Philadelphia Museum of Art
Edward Hornor Coates (1903), PAFA
W. Elmer Schofield (1905), National Academy of Design
Dr. Joseph Price (1906), PAFA
Frank Duveneck (1915), Cincinnati Art Museum
Paul Wayland Bartlett (1916), National Academy of Design
Notes
1 2 3 4 5 6 7 8 9 10 James Terry White, "Charles Grafly"The National Cyclopedia of American Biography (New York: James T. White & Company, 1904), p. 547.
↑ William Yarrow and Louis Bouche, Robert Henri, His Life and Works (New York: Boni & Liveright, 1921), p. 18.
1 2 3 4 5 6 Vittoria C. Dallin, "Charles Grafly's Work", New England Magazine, vol. 25, no. 2 (October 1901), pp. 228-35.
1 2 Peter Hastings Falk, ed., The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts, Volume 2, 1876 – 1913 (Madison, CT: Soundview Press, 1989).
↑ "Grafly to Model Statue", The St. Louis Republic, December 16, 1903, p. 4.
↑ Helen W. Henderson, "Charles Grafly, Sculptor: An Apostle of Symbolism", The Booklovers Magazine vol. 2, no. 5 (November 1903), (Philadelphia: Literary Publishing Company, 1903), pp. 502-03.
1 2 "Charles Grafly", The Grove Encyclopedia of American Art, Volume 1, Joan M. Marter, ed., (Oxford University Press, 2011).
↑ Official Catalogue of the World's Columbian Exposition, 1893: Part X. Department K. Fine Arts (Chicago: W. B. Conkley Company, 1893), p. 12.
↑ John E. D. Trask, "Charles Grafly, Sculptor, Art and Progress, vol. 1, no. 4 (February 1910), American Federation of the Arts, pp. 83-89.
↑ Catalogue of the Exhibition of Fine Arts (Buffalo: Pan-American Exposition, 1901), pp. ix, 68.
1 2 School Circular: Pennsylvania Academy of the Fine Arts (Philadelphia, PAFA, 1917), p. 8.
↑ Official Catalogue of the Department of Fine Arts, Panama-Pacific International Exposition (San Francisco: Panama-Pacific International Exposition, 1915).
↑ Paintings, Sculpture and Prints in the Department of Fine Arts, Sesqui-Centennial International Exposition (Philadelphia: The Exposition, 1926), p. 55.
↑ Helen W. Henderson, The Pennsylvania Academy of the Fine Arts and Other Collection of Philadelphia (Boston: 1911), pp. 206-07.
↑ Helen W. Henderson, The Art Treasures of Washington (Boston: L. C. Page & Company, 1912), pp. 383-84.
↑ Brush and Pencil, vol. 16, no. 5 (November 1905), p. 143.
↑ Memorial Exhibition of Work by Charles Grafly (Philadelphia: Pennsylvania Academy of the Fine Arts, 1930), p. 7.
1 2 3 4 David B. Dearinger, Paintings and Sculpture at the National Academy of Design, Volume 1, 1826–1925 (Hudson Hills Publishing, 2004), pp. 230-31.
↑ "Prize Work at American Art Exhibit", The Monumental News, vol. 34, no. 2 (February 1922), p. 98.
↑ "Concord, Mass." American Art News, May 20, 1922, p. 4.
Drummond, Dorothy Grafly, The Sculptor's Clay: Charles Grafly (1862–1929), Edwin A Ulrich Museum of Art, Wichita State University Wichita, Kansas (1929, reprinted 1996).
Moissaye Marans, "Charles Grafly as Teacher", National Sculpture Review, vol. 21 (Fall 1972).
Pamela H. Simpson, The Sculpture of Charles Grafly, PhD. dissertation, (University of Delaware, 1974).
Anne d'Harnoncourt, "Charles Grafly (1862–1929)", Philadelphia: Three Centuries of American Art (Philadelphia Museum of Art, 1976), pp.439–40.
Susan James-Gadzinski and Mary Mullen Cunningham, "Charles Grafly, 1862-1929", American Sculpture in the Museum of American Art of the Pennsylvania Academy of the Fine Arts (PAFA, 1997), pp.118–41.
William Rush was a U.S. neoclassical sculptor from Philadelphia, Pennsylvania. He is considered the first major American sculptor.
Alexander Stirling Calder was an American sculptor and teacher. He was the son of sculptor Alexander Milne Calder and the father of sculptor Alexander (Sandy) Calder. His best-known works are George Washington as President on the Washington Square Arch in New York City, the Swann Memorial Fountain in Philadelphia, and the Leif Eriksson Memorial in Reykjavík, Iceland.
Walker Kirtland Hancock was an American sculptor and teacher. He created notable monumental sculptures, including the Pennsylvania Railroad World War II Memorial (1950–52) at 30th Street Station in Philadelphia, and the World War I Soldiers' Memorial (1936–38) in St. Louis, Missouri. He made major additions to the National Cathedral in Washington, D.C., including Christ in Majesty (1972), the bas relief over the High Altar. Works by him are presently housed at the U.S. Military Academy at West Point, the Library of Congress, the U.S. Supreme Court, and the United States Capitol.
Francis Edwin Elwell was an American sculptor, teacher, and author.
Joseph Alexis Bailly was an American sculptor who spent most of his career in Philadelphia, Pennsylvania. He taught briefly at the Pennsylvania Academy of the Fine Arts, which has a collection of his sculpture. His most famous work is the statue of George Washington in front of Independence Hall.
Howard Roberts was an American sculptor based in Philadelphia, Pennsylvania. At the time of the 1876 Centennial Exposition, he was "considered the most accomplished American sculptor." But his output was small, his reputation was soon surpassed by Augustus Saint-Gaudens and others, and he is now all but forgotten. Examples of his work are in the collections of the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, and the U.S. Capitol.
Albert Laessle was an American sculptor and educator. He taught at the Pennsylvania Academy of the Fine Arts for more than twenty years and is best remembered as an animalier. He won the 1918 Widener Gold Medal.
Samuel Aloysius Murray was an American sculptor, educator, and protégé of the painter Thomas Eakins.
Smith Memorial Arch is an American Civil War monument at South Concourse and Lansdowne Drive in Philadelphia, Pennsylvania. Built on the former grounds of the 1876 Centennial Exposition, it serves as a gateway to West Fairmount Park. The Memorial consists of two colossal columns supported by curving, neo-Baroque arches, and adorned with 13 individual portrait sculptures ; two eagles standing on globes; and architectural reliefs of eight allegorical figures.
Edmond Thomas Quinn was an American sculptor and painter. He is best known for his bronze statue of Edwin Booth as Hamlet, which stands at the center of Gramercy Park in New York City. His larger-than-lifesize bronze bust of Victor Herbert stands near The Pond in Central Park, New York City.
Art Students' League of Philadelphia was a short-lived, co-operative art school formed in reaction to Thomas Eakins's February 1886 forced-resignation from the Pennsylvania Academy of the Fine Arts. Eakins taught without pay at ASL from 1886 until the school's dissolution in early 1893.
The George D. Widener Memorial Gold Medal was a prestigious sculpture prize awarded by the Pennsylvania Academy of the Fine Arts from 1913 to 1968. Established in 1912, it recognized the "most meritorious work of Sculpture modeled by an American citizen and shown in the Annual Exhibition." PAFA's annual exhibitions were open to all American sculptors, but an individual could be awarded the medal only once. Sculptors Paul Manship, Albin Polasek, Malvina Hoffman, Carl Paul Jennewein, Anna Hyatt Huntington, William Zorach and Leonard Baskin were among its recipients.
John J. Boyle was an American sculptor active in Philadelphia in the last decades of the 19th century, known for his large-scale figurative bronzes in public settings, and, particularly, his portraiture of Native Americans.
Frances Taft Grimes was an American sculptor, best remembered for her bas-relief portraits and busts.
Charles Bregler was an American portrait painter and sculptor, and a student of artist Thomas Eakins. Bregler wrote about Eakins's teaching methods, and amassed a large collection of his minor works, memorabilia and papers. Following Bregler's death, his widow safeguarded the Eakins collection for decades before selling it to the Pennsylvania Academy of the Fine Arts.
Emily Clayton Bishop was an American prize-winning sculptor. Although she died at a young age, her works in bronze and plaster are found in museum collections such as the Smithsonian American Art Museum and in shows such as Modern Women at PAFA (2013). Her childhood home, the Emily Clayton Bishop house, is a Maryland State historic site. The home sold in 2019 for $115,000.
Walter Elmer Schofield was an American Impressionist landscape and marine painter. Although he never lived in New Hope or Bucks County, Schofield is regarded as one of the Pennsylvania Impressionists.
August Zeller was an American sculptor and teacher.
Joseph Thurman Pearson Jr. was an American landscape and portrait painter, and an instructor at the Pennsylvania Academy of the Fine Arts in Philadelphia.
Dorothy Grafly was an American journalist, art critic, author, curator and philanthrophist. Grafly wrote extensively for a wide variety of newspapers and magazines, and was described in Time magazine as "the ablest art critic in the city" of Philadelphia. Her book A History of the Philadelphia Print Club appeared in 1929. She served as the editor of Art Outlook (1943–1949) and the publisher and editor of Art in Focus (1949–1980).
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
