PDF Download Monument Man: The Life and Art of Daniel Chester French, by Harold Holzer
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Monument Man: The Life and Art of Daniel Chester French, by Harold Holzer
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Review
"This beautifully written, impeccably researched biography does much to resuscitate French's substantial contributions to American art." - Kirkus Reviews"This book will surely rank as the authoritative life od a man whose creations in stone and bronze have become inseparable parts of our historical emeory," - Ron Chernow
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About the Author
Harold Holzer, winner of the 2015 Gilder Lehrman Lincoln Prize, is a Lincoln scholar and the author of numerous books on Civil War–era art and history. He currently serves as the director of the Roosevelt House Public Policy Institute at Hunter College, City University of New York. In 2008 he was awarded the National Humanities Medal.
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Product details
Hardcover: 368 pages
Publisher: Princeton Architectural Press (March 5, 2019)
Language: English
ISBN-10: 1616897538
ISBN-13: 978-1616897536
Product Dimensions:
6.2 x 1.2 x 9.2 inches
Shipping Weight: 2 pounds (View shipping rates and policies)
Average Customer Review:
3.0 out of 5 stars
2 customer reviews
Amazon Best Sellers Rank:
#2,498 in Books (See Top 100 in Books)
Unreadable. Without question, the tiniest print in any book I have purchased from Amazon. Complete disappointment. Will return immediately.
Daniel Chester French is the greatest sculptor America has ever produced. There; I said it. I used to qualify the statement with “arguably†to acknowledge Augustus Saint Gaudens, given the sobriquet by many others, (and the only other an argument may be made for; no one else compares) but I’ve given up tempering my opinion. I’ve known it for years and this book, Monument Man by Harold Holzer, makes the case quite well. From roughly the 1870’s to the 1920s American Architecture was dominated by the Beaux-Arts style, championed by Daniel Burnham in Chicago and Charles McKim ,William Mead and Stanford White in New York. The style emphasized classical symmetry and sculptural decoration. It reached its apotheosis at the Columbian Exposition of 1893, which inspired the “City Beautiful’ movement. These trends, along with the civic need to define and commemorate the American Civil War, led to a golden age of American Sculpture, when practitioners such as Henry Kirke Brown, John Quincy Adams Ward, Augustus St. Gaudens, Daniel Chester French, Frederick MacMonnies, Charles Niehaus, Augustus Lukeman, John Massey Rhind, Karl Bitter and others created beautiful statues and memorials in cities throughout the US. Holzer is a Lincoln expert (French sculpted the seated Lincoln in the Lincoln Memorial; everyone knows that) rather than an art historian, so some context is lost in the bio. For instance, while the chapter on the world’s Columbian Exposition rightly places emphasis on French’s work (especially the “Statue of Republicâ€), Holzer never even mentions the other huge sculptural “hit†at the fair- “The Barge of State†by Frederick MacMonnies- known the world over as “The MacMonnies Fountain†that made the younger (by 13 years) man’s reputation. MacMonnies was a superb sculptor in his time, yet his some of his work has not aged so well, appearing dated and less harmonious and refined than the timeless classicism of French’s work. I think a chance to discuss French’s contemporaries (and rivals for his commissions) was missed. Still, the book is dense and well researched, will little room for extras. There’s no colophon in the book, but the font appears to be 10 pt. (most books are set about 12), so its 367 pages is more like 550. Holzer is less interested with esthetic concerns than the iconic status of many of French’s works, most especially the Lincoln Memorial, (he opens and closes the book with it) and its sociological importance in American history. (Let’s also note that the Architect of the memorial was Henry Bacon, and though Mr. French did indeed create (conceive, design and model) the sculpture, it was enlarged, carved and assembled by The Piccirilli Brothers Marble Carving Studio, more great talents lost to history.) The book was commissioned by Chesterwood/The National Trust for Historic Preservation, a far worthier project than their ill-advised strategy some years ago to try to re-brand the sculptor as “Dan French†because his name and lack of any scandal around him (“he didn’t have any affairsâ€) made him appear stodgy and colorless. It’s true that both the artist’s wife and his daughter referred to him as “Dan French†in their respective biographies, Memories of a Sculptor’s Wife, and Journey Into Fame but the fact that the former was written by “Mrs. Daniel Chester French†swings the pendulum back the other way, I think. For such a distinguished gentleman from a more formal age, “Daniel Chester French†is just fine. Bemoaning his lack of fame as compared to his fellow Stockbridge artist Norman Rockwell, Chesterwood seemed to view the Norman Rockwell Museum (five minutes away) as a rival for attention. As I first visited Chesterwood as a child in the 70’s, (one of many priceless gifts my parents gave me) when Rockwell was still alive and his museum was the “old corner house†on main street, Stockbridge, I would think the new, multi-million dollar, Lucas/Spielberg financed Museum would have increased traffic to Chesterwood considerably. Certainly if you go to Stockbridge in the summer, visiting Chesterwood is a must. It is indeed unfortunate that most adults today do not know who Daniel Chester French is, though this has little to do with Mr. French’s impact and much to do with the lack of cultural awareness in our citizenry. (Most people have no idea who Gilbert Stuart is, either, despite the fact that they handle reproductions of his work multiple times daily every day of their lives.) Possibly this book will rectify that. This is a superb biography that focuses on French’s works, a list of which is included at the back, covering 83 pieces in 18 states, the District of Columbia, and France. It only includes “public works†(i.e., those in Parks, gardens, etc.) and not works in museum collections, however. This is a shame, as while two of his greatest funerary monuments, Mourning Victory (The Melvin Memorial) and Death and the Sculptor (The Milmore Memorial) are in cemeteries in Massachusetts, marble versions can also be viewed in the American Wing Sculpture Garden of The Metropolitan Museum of Art in New York. (They also have the breathtakingly beautiful Memory.) Of course that fact is noted in the body of the book, which is illustrated throughout with photos of the pieces where they’re discussed. In the New York City area alone, his group of Four Continents (Asia, Africa, Europe and America) decorates the New York Custom House at the south tip of Manhattan. The Richard Morris Hunt Memorial is on the East side of Central Park in New York, 70th Street and Fifth Avenue. Mr. French’s busts of Edgar Allan Poe and Ralph Waldo Emerson are in the astoundingly forgotten Hall of Fame for Great Americans at Bronx Community College. Alma Mater is at Columbia University. His allegorical figures Brooklyn and Manhattan are at the Brooklyn Museum on Eastern Parkway. Smaller models of The Minuteman and the Spirit of Life (The Trask Memorial) are in the Newark museum in Newark, New Jersey. What a list. Inspirational. Classic. Beautiful. Timeless. It’s the work of Daniel Chester French, America’s greatest sculptor. You need to buy this book.
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