Showing posts with label North Side. Show all posts
Showing posts with label North Side. Show all posts

Alexander Hamilton Memorial


Alexander Hamilton Memorial, 1940
John Angel
Lincoln Park
North Stockton Drive at North Cannon Drive

Philanthropist and art patron Kate Sturges Buckingham (1858 – 1937) , best known for her donation of the Clarence F. Buckingham Memorial Fountain to the city, considered Alexander Hamilton “one of the least appreciated great Americans.” It was her belief that the first Secretary of the Treasury was responsible for securing the nation’s financial future, hence making it possible for her family to make its fortune in grain elevators and banking.  In 1928, she established a fund and pledged $1 million to the Chicago Park District with the intent to create a memorial honoring the founding father.
Hired to sculpt the figure was New York artist John Angel (1881– 1960), one of the most prolific and highly regarded sculptors of the day. Finnish architect Eliel Saarinen  (the architect whose entry for the Tribune Tower competition of 1923 was widely viewed as the best, despite Hood and Howells winning the commission) was brought on to create an architectural setting for the monument. However, his proposed shelter with 115-foot columns was not well received.  Buckingham, fearing the statue of Hamilton would be lost within the structure noted it, "shouldn’t look like a modern skyscraper.”
            By the time of her death in 1937, with at least $41,000 already spent on the project, the sculpture’s setting and location were uncertain. Her will directed the trustees of the Alexander Hamilton Trust Fund to complete the project and, if it was not completed with 10 years, the monies would go to the Art Institute. In 1943, a lawsuit was filed by the States Attorney for Cook County accusing the committee, which included two directors at the Art Institute, of purposely slowing the project. The judge in the case put a moratorium on the project until the end of the ongoing war. The courts later ordered the project to be completed by 1953. The trustees decided to gild the bronze statue that had been put into storage four years after Buckingham’s death and hired architect Samuel A. Marx (1885– 1964) to create a new granite setting for a site in Lincoln Park.  On July 6, 1952, 24 years after Buckingham made the original offer, the monument was finally installed. The gilded sculpture sat on Marx’s 78-foot-tall cantilevered granite exedra until 1993. At that time, flaws were found in the structure that made it unsafe and required demolition.  The re-gilded statue now sits on the only remaining element of the original structure, a red granite base.
Additional works by Angel can be found on the Cook County Courthouse as well as St. Patrick’s Cathedral in New York City and the Shrine of the Immaculate Conception in Washington, D.C.

William Shakespeare Monument


William Shakespeare Monument, 1894
William Ordway Partridge
Lincoln Park
West of North Stockton Avenue on axis with West Belden Avenue

            After winning the competition to create a memorial to William Shakespeare (1564-1616), artist and one-time actor William Ordway Partridge (1861-1930) devoted himself to researching the Bard’s life, the customs of Elizabethan England, the available portraits of Shakespeare, including a death mask, and the type of costume that would be appropriate for his portrait. Funded by north side businessman Samuel Johnston in his will, the monument was to be placed in Lincoln Park but Partridge was able to display a plaster model in the 1893 World’s Columbian Exposition. It was cast in bronze in Paris, shipped to Chicago, and unveiled by the donor’s grandniece, Miss Cornelia Williams, on April 23, 1894.
            The low pedestal includes a quotation from Hamlet and a statement by Samuel T. Coleridge: “He was not for an age but for all time, our myriad-minded Shakespeare.” The size of the base allows for close and careful viewing and reveals Partridge’s sensitive portrayal of the man himself as well as his attention to the details of his attire. 

Other work: 

Eternal Silence: Dexter Graves Monument


Eternal Silence: Dexter Graves Monument, 1909
Lorado Taft
Southeastern section
Graceland Cemetery
4001 North Clark Street

            Dexter Graves (1789-1844) was a hotel owner and one of first settlers in the area, bringing a colony of 13 families to Chicago from Ohio in 1831. This bronze figure, 8 feet high and standing against a polished black granite backdrop, was commissioned by Graves’ son, Henry, to mark the site of his father’s burial. Taft’s approach to the work signals his awareness of innovative funerary art, such as the Adams Memorial by Augustus Saint-Gaudens, installed at Rock Creek Cemetery in Washington, D.C. in 1891. Saint-Gaudens’ piece featured a shrouded figure of ambiguous gender that reflected Henry Adams’ interest in Buddhism and his desire to honor his wife’s memory with a serene figure who has accepted the inevitable. Similarly, Taft’s shrouded figure does not reflect a traditional or Christian approach to a mortuary monument, and the eerie quality of the work may have been enhanced by the fact that the exposed areas have developed a green patina while the face has remained dark. 

Other works: 


Eagle Columns


Eagle Columns, 1989
Richard Hunt
Jonquil Park
Corner of West Wrightwood and North Sheffield Avenues

            Funded by a grant from the National Endowment for the Arts and donations from local residents, these three angular, stylized eagle forms appear to be rising in various states of flight from the bronze pylons below. Created by Chicago-based sculptor Richard Hunt, this work commemorates politician John Peter Altgeld (Governor of Illinois 1893-1897) and was inspired by a 1913 poem by Nicholas Vachel Lindsay entitled “The Eagle That Is Forgotten.” Lindsay was a native of Springfield, Illinois and troubadour poet who spent years traveling without money and trading his poetry for food and shelter. He wrote the poem in honor of Altgeld’s principled decision in 1893 to pardon the three remaining men, out of the seven, convicted of murder and sentenced to death following the bombing at the Haymarket Riot in 1886. Although the trial is viewed today as a mockery of justice, Altgeld was criticized harshly at the time and it was not until after the publication of Lindsay’s poem that some citizens began to view the Governor as a forgotten hero. In 1915, a figurative sculpture of Altgeld by Gutzon Borglum was erected in Lincoln Park.
            Hunt has produced a number of abstract welded-metal sculptures commemorating important figures from United States history, including works that honor Dr. Martin Luther King, Jr. in both Chicago and Memphis and an indoor installation entitled “Jacob’s Ladder” at the Carter G. Woodson public library on Chicago’s South Side. Woodson is considered the “father of black history” and Hunt’s works strive to respond to aspects of the site as well as the dynamics of the community. In the case of the Eagle Columns monument, the community reciprocated when the monument showed signs of deterioration, and the Wrightwood Neighbors Association worked with the Chicago Park District to conserve the work. It was rededicated in 2010 and features a new ramp and handrail, making it fully accessible.

Other works:



Woman Observing the World and Striding Man


Woman Observing the World
Striding Man





















Woman Observing the World and Striding Man, 1951 (installed 1965)
Abbott L. Pattison
3440 North Lake Shore Drive Apartments

            These two bronze figures were cast at the Marinelli foundry in Florence, Italy, used by Chicago sculptor Abbott Pattison throughout his career following a period of working there during the 1950s. The 7-foot tall Striding Man earned Pattison the first place award in the 1951/52 Metropolitan Museum of Art’s contemporary American sculpture show and Woman Observing the World was exhibited at the Whitney Museum of Art in New York and the Art Institute of Chicago.  

          Demonstrating Pattison’s cubist-inflected figurative approach, which combines realistic elements with abstracted anatomical references, the works were purchased in 1965 by Louis Solomon of the firm Solomon, Cordwell, and Buenz and placed in front of the building designed by the architects.

Other works: