"The Metropolitan Museum of Art has some forty-five sculptures by Augustus Saint-Gaudens (1848–1907), the American Beaux-Arts sculptor who worked in New York, Paris, and Cornish, New Hampshire. The Museum’s collection fully represents the range of his oeuvre—from early cameos to innovative painterly bas-reliefs to reductions after public monuments for East Coast cities. Through the lens of the Museum's unparalleled holdings as well as some related loans, this exhibition offers a reappraisal of Saint-Gaudens's groundbreaking role in the history of late nineteenth-century American sculpture and the Aesthetic Movement."--The Metropolitan Museum of Art web site

"The Metropolitan Museum of Art has some forty-five sculptures by Augustus Saint-Gaudens (18481907), the American Beaux-Arts sculptor who worked in New York, Paris, and Cornish, New Hampshire. The Museums collection fully represents the range of his oeuvrefrom early cameos to innovative painterly bas-reliefs to reductions after public monuments for East Coast cities. Through the lens of the Museum's unparalleled holdings as well as some related loans, this exhibition offers a reappraisal of Saint-Gaudens's groundbreaking role in the history of late nineteenth-century American sculpture and the Aesthetic Movement."--The Metropolitan Museum of Art web site.

Published to celebrate The Metropolitan Museum of Art’s 150th anniversary, Making The Met, 1870–2020 examines the institution’s evolution from an idea—that art can inspire anyone who has access to it—to one of the most beloved global collections in the world. Focusing on key transformational moments, this richly illustrated book provides insight into the visionary figures and events that led The Met in new directions. Among the many topics explored are the impact of momentous acquisitions, the central importance of education and accessibility, the collaboration that resulted from international excavations, the Museum’s role in preserving cultural heritage, and its interaction with contemporary art and artists. Complementing this fascinating history are more than two hundred works that changed the very way we look at art, as well as rarely seen archival and behind-the-scenes images. In the final chapter, Met Director Max Hollein offers a meditation on evolving approaches to collecting art from around the world, strategies for reaching new and diverse audiences, and the role of museums today.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The sculpture of Augustus Saint-Gaudens (1848-1907), called the American Michelangelo, has often been compared to the magnificent works of the Renaissance. As an advocate of new ideas and a new approach to sculpture, Saint-Gaudens played a preeminent role in developing America's cultural life and revitalizing the art of sculpture in the modern age. (1861-65), when numerous monuments were commissioned to commemorate the national crisis and subsequent unification. In addition, the amassing of private fortunes during the country's unprecedented economic and financial growth led to an interest in sculpture for personal collections. Saint-Gaudens contributed works of both types. His Shaw Memorial (1897), commemorating the Massachusetts Fifty-fourth Regiment, the first U.S. Army unit of African Americans, and his Lincoln Monument (1887) are among the most moving of the nation's Civil War monuments, while his Adams Memorial (1891) is one of the most evocative of his privately commissioned works. France and spent eight years in Europe, where he found a freer and bolder form of artistic expression. On his return to the United States in 1875, he used his European training to create a new American style incorporating simplicity of subject, realism of form, and strength of emotion. In addition to his monuments, his works also included interior decoration for some of the great houses of the Gilded Age, portrait reliefs, and medals and U.S. coinage. his and the subsequent generation of American sculptors through his teaching and his lead in establishing organizations for the support and training of American artists, including the Society of American Artists. His legacy, as both artist and educator, is nothing less than the shaping of American culture.

Bibliography: p. 171.

Beyond Grief explores high-style funerary sculptures and their functions during the turn of the twentieth century. Many scholars have overlooked these monuments, viewing them as mere oddities, a part of an individual artist's oeuvre, a detail of a patron's biography, or local civic cemetery history. This volume considers them in terms of their wider context and shifting use as objects of consolation, power, and multisensory mystery and wonder. Art historian Cynthia Mills traces the stories of four families who memorialized their losses through sculpture. Henry Brooks Adams commissioned perhaps the most famous American cemetery monument of all, the Adams Memorial in Washington, D.C. The bronze figure was designed by Augustus Saint-Gaudens, who became the nation’s foremost sculptor. Another innovative bronze monument featured the Milmore brothers, who had worked together as sculptors in the Boston area. Artist Frank Duveneck composed a recumbent portrait of his wife following her early death in Paris; in Rome, the aging William Wetmore Story made an angel of grief his last work as a symbol of his sheer desolation after his wife’s death. Through these incredible monuments Mills explores questions like: Why did new forms--many of them now produced in bronze rather than stone and placed in architectural settings--arise just at this time, and how did they mesh or clash with the sensibilities of their era? Why was there a gap between the intention of these elite patrons and artists, whose lives were often intertwined in a closed circle, and the way some public audiences received them through the filter of the mass media? Beyond Grief traces the monuments' creation, influence, and reception in the hope that they will help us to understand the larger story: how survivors used cemetery memorials as a vehicle to mourn and remember, and how their meaning changed over time.

The artist who created the statue for the Lincoln Memorial, John Harvard in Harvard Yard, and The Minute Man in Concord, Massachusetts, Daniel Chester French (1850–1931) is America's best-known sculptor of public monuments Monument Man is the first comprehensive biography of this fascinating figure and his illustrious career. Full of rich detail and beautiful archival photographs, Monument Man is a nuanced study of a preeminent artist whose evolution ran parallel to, and deeply influenced, the development of American sculpture, iconography, and historical memory. Monument Man was specially commissioned by Chesterwood / National Trust for Historic Preservation. The release will coincide with the fiftieth anniversary of the opening of Chesterwood, his country home and studio, as a public site and with a major renovation of the Lincoln Memorial. The book includes a comprehensive geographical guide to French's public work.

Stop, look, and discover—the streets and parks of Manhattan are filled with beautiful historic monuments that will entertain, stimulate, and inspire you. Among the 54 monuments in this volume are major figures in American history: Washington, Lincoln, Lafayette, Horace Greeley, and Gertrude Stein; more obscure figures: Daniel Butterfield, J. Marion Sims, and King Jagiello; as well as the icons of New York: Atlas, Prometheus, and the Firemen's Memorial. The monuments represent the work of some of America's best sculptors: Augustus Saint Gaudens’ Farragut and Sherman, Daniel Chester French’s Four Continents, and Anna Hyatt Huntington’s José Martí and Joan of Arc. Each monument, illustrated with black-and-white photographs, is located on a map of Manhattan and includes easy-to-follow directions. All the sculptures are considered both as historical mementos and as art. We learn of furious General Sherman court-martialing a civilian journalist, and also of exasperated Saint Gaudens’ proposing a hook-and-spring device for improving his assistants' artistic acuity as they help model Sherman. We discover how Lincoln dealt with a vociferous Confederate politician from Ohio, and why the Lincoln in Union Square doesn't rank as a top-notch Lincoln portrait. Sidebars reveal other aspects of the figure or event commemorated, using personal quotes, poems, excerpts from nineteenth-century periodicals (New York Times, Harper's Weekly), and writers ranging from Aeschylus, Washington Irving, and Frederic-Auguste Bartholdi to Mark Twain and Henryk Sienkiewicz. As a historical account, Outdoor Monuments of Manhattan: A Historical Guide is a fascinating look at figures and events that changed New York, the United States and the world. As an aesthetic handbook it provides a compact method for studying sculpture, inspired by Ayn Rand’s writings on art. For residents and tourists, and historians and students, who want to spend more time viewing and appreciating sculpture and New York history, this is the start of a unique voyage of discovery.