24 10 8302 https://omeka.svsu.edu/files/original/1991061_9adee938b0.jpg 9fb16d47ad7bb82cd84d112d6b879de8 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 534 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 318" x 264" Materials Plaster full-scale Catalog Number 1991.061 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 May, 22 Gift to Museum and SVSU Board of Control Notes The redwood cross was constructed from a single California redwood tree and erected August 5, 1954. The Christ figure was cast in Oslo, Norway. The weight of the bronze Christ is 7 tons. Indian River Catholic Shrine is located at: 7078 M-68, Indian River, MI 49749 A chapel on the grounds was designed by Alden Dow. In 1992 the bronze was conserved by Jensen Conservation Services. MF, Sculptor copy: The Indian River Shrine At Indian River in northern Michigan, there is a beautiful but very small chapel, designed by the architect Alden Dow. In 1952 the priest at the chapel asked Fredericks to design an outdoor crucifix. The result was a huge figure, a crucifix on a redwood cross, fifty-five feet high, on which hangs a bronze Christ twenty-eight feet high and twenty feet across the arms. The emphasis upon blood and agony in many crucifixes was repugnant to the sculptor. The priest obtained permission from Rome to eliminate these and Fredericks created a crucified figure of only sadness and resignation. The enormous size and solemnity of the figure have created a focus for pilgrimage, a crucifix of tragic and heroic grandeur, deep in the evergreen forest. Thematic tour copy: Christian sculpture made for Indian River Catholic Shrine. IRCS planned to have an outside church and commissioned Fredericks to sculpt a crucifix about 6' in size. However, he sculpted a 28' Crucifix and they accepted it. He didn't take any money for the work they were only responsible for other costs such as casting, transportation, installation, etc. He claims divine intervention as he was sculpting. He said the clay seemed to just go right into place as he was working. It was cast in Norway. This is the original plaster model. It was installed in pieces and an extensive armature was built inside to support it. The gaping cracks in the plaster were filled in to look like one solid piece. It's firmly anchored to the wall with brackets. It took 7 years to restore for the museum and only 3 years to make for the Shrine. The bronze is reported to weigh 7 tons. Normally there are certain attributes that a crucifix has. Ours is missing the Cross, due to space constrictions. The crown of thorns, and wound in his side are also missing because Fredericks wanted to display the moment Christ had passed away and had peace. Ask students what they would normally find on a crucifix. (Note: Not all students are Christians, so do not get too detailed about religion.) 1000 Symbols: Nails in hands and feet: He was nailed to a wooden cross. The nails mimic the wooden ones that were most likely used. Wooden Cross (not on ours): It is said to be made of the tree of knowledge (or from a seeded tree of it) in the Garden of Eden, which links the story of Adam and Eve. Crown of Thorns (not on ours): It's made of small thorn-like plants and put on his head as a form of harassment by Pilates soldiers. The said to him "Hail to the King of the Jews." Wound and blood in his side (not on ours): Represents the stream of blood that is caught in a chalice, the Eucharistic vessel and baptism. It has redemption powers embodied in the sacrament of communion-receiving the "body and blood" of Christ. The wound relates to the rib in Adam's side in which woman was "born of a wound". Loin Cloth or perizonium: A thin band of cloth around the waist and under the crotch. In Roman times he would have been naked. Artists in the middle ages began to depict him with a loin cloth for reasons of dignity. In visual art, before the 11th century Christ is depicted alive and open eyed, a triumphant savior wearing a royal crown. After the 11th century he appears as an emaciated figure with a head fallen on one shoulder and later wearing a crown of thorns-this version prevailed in Western art thereafter. Christ was accused of being King of the Jews, betrayed by one of his own disciples, arrested by the Sanhedrin, and turned over to the Roman authorities. He was harassed and mocked and a Roman soldier put a crown of thorns on his head and a purple cloak on him. Purple was a symbol of royalty because the dye was from a sea creature and was very hard to obtain, so only wealthy people could afford cloth that color. He was made to carry a wooden Latin Cross along the road to Calvary. He was nailed to a cross at Golgotha, the place of the skull. Soldiers pierced his side while he hung on the cross to make sure he was dead. Molly Barth copy: The next piece is titled "Christ on the Cross," at Cross in the Woods Catholic Shrine at Indian River, Michigan. It is one of the world's largest crucifixes. The cross that it's on, the vertical portion is from one California redwood tree, and that's 55 feet tall. Let me tell you a little history about it. The Archdiocese of Grand Rapids commissioned Mr. Fredericks to do this. Originally, they wanted a six-foot figure of Christ, there at Indian River, but Mr. Fredericks said, "No way, you need something monumental there at Indian River. So he did it this size. But he starts off small, he starts with a drawing, and then he makes a small maquette, which is usually one inch to the foot scale, and then that's enlarged, and enlarged again and again as necessary, until he ends up with a full-size monumental piece. The full-size is there overlooking Burt Lake in the woods. And you'll notice here on the plaster model, there isn't a crown of thorns, or a wound in the side. The Priest had to get permission from Rome to let Mr. Fredericks sculpt it without those. He really wanted this to be a very uplifting pilgrimage to the Crucifix. He didn't want to show the agony that Christ went through. He shows the sadness on his face, but he didn't want to show the agony. He wanted it to be very uplifting. As you go along through the Gallery, you'll notice he succeeds, even the War Memorials, instead of showing the agony and the blood, it shows that they're more for the living, again, more uplifting. He really is successful through his sculpture; and you'll see that as we go along through the Gallery. This plaster model, here in the Gallery, weighs just about two tons, and it is hollow. All these plaster models are hollow. This was the first piece to be brought in but a special skeleton or armature of aluminum had to be designed, and that was done in Cassopolis, Michigan at K&M; through the help of K&M and also Mr. Fredericks, they were able to design this, and also the support system built into the wall so that this could hang on there. Really the height of the Gallery was designed around this piece. The piece here is the full-size, and it's 28 feet high; and, of course, the Gallery height is 30 feet high, and the Gallery was essentially designed around the height of this sculpture, the plaster model, that is. The Christ figure was put up, piece by piece, the plaster model, that is, and the rest of the Gallery wasn't finished, the marble was not on the walls, the Travertine marble, the floor had not been finished. Mr. Fredericks wanted to bring this in because it is so large. You don't see any seams, but all the seams were filled-in more for aesthetic purposes, as you see in the others, the seams still are exposed, as I mentioned earlier, he wanted this to be a "teaching facility." The redwood cross was put up first, and then dedicated in 1954, and that weighed 14 tons and then in 1959, the actual bronze casting of Christ was put up and dedicated, and that weighed 4 tons, the bronze casting. The bronze casting of Christ was also cast in Norway and brought over by boat. It came to the Port of Detroit, and then from there it came up by semi truck all the way up Dixie Highway to Indian River. It did not have the arms; the arms of Christ were attached on the site there at Indian River. Let me tell you a story of when they were hoisting the bronze up onto the cross. They had a 110 foot crane, but they didn't compensate enough for the weight of the bronze, so all of a sudden, the Christ figure and also the crane started to tip so they quickly pivoted the toes of the Christ figure into the ground to stabilize it and brought in a big, gravel truck to anchor the crane. It took Mr. Fredericks four years start-to-finish to do the Christ figure and, as I mentioned, it was cast in Norway. When this Gallery actually became a reality that it was going to happen, Mr. Fredericks asked for the plaster model to be shipped over, because the plaster model had been left over there for over 23 years. Many of the pieces were missing, and many of the pieces had literally been left outside and partially covered. When it arrived, it was really in terrible condition, so the plaster model came over and with assistance, Mr. Fredericks repaired the plaster model and it took him seven years to the way you see it today while it took him four years from start-to-finish on the Christ figure from clay to actual bronze that is there at Indian River on the cross. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: "The building was a little simple church building. We went to see the priest because the priest had the idea that he wanted a figure of Christ out in front of the church by the road to identify the church so people would know the church was back in the woods. He wanted a life-size figure, just standing there. I said, 'if you want people coming here from all over the world, they won't come here for that; it needs to be something unique. We ought to build the largest cross in the world. I think the Pope will come here someday.' The priest said, 'It's impossible to raise the kind of money necessary.' We went to the Bishop in Grand Rapids. He said, 'Do it right, or don't do it at all. I'm sure you'll get the money if you have a good project. I will back it.' We had seven trees to get one that had a straight piece of redwood without any sap. We needed it 70 feet long. To get it from California to here, we had to put it on two, big flat railroad cars, fastened on one and able to swing on the other. Then we loaded it on a great, big truck. In the meantime, I started to develop the Christ figure. I didn't charge any of my time; they just paid for materials. It was at that time that I decided that Norway was the place to start a foundry. No place in the state would do it. I built a foundry there because at the same time I had the Spirit of Detroit to do, too. Labor was very cheap there. We could cast it at a fraction of the cost. We cast it at a very reasonable price and shipped it back on a trip right to Detroit and took it up on a truck." In describing the figure Fredericks said: "He doesn't have a crown of thorns or wound in his side. I made a crown of thorns but I couldn't bear the thought of piercing his flesh. So we had to go to the Bishop again. He said we could not do that in public, change the Christ figure. It hadn't been done since 1800s. So he contacted the Vatican and, I guess, the Pope gave permission to do it. I don't think the Vatican would make a decision like that without checking with the Pope." When asked about the process going much smoother than usual Fredericks said: "Yes, I probably shouldn't say it. Usually when you do a big thing like that, you add clay and then you smooth it out, put texture on it and then maybe you add more clay and then you take it off until you get it right. But with that big figure, I didn't seem to have so much work with that. It was so huge and I had to go over each little area ten times, it would have taken ten years. I worked all alone. The clay seemed to know where to go by itself. I kind of felt that maybe a higher being wanted it to be done properly." Fredericks relayed an incident of a cleaning man at the studio in Norway while he was working on the corpus: "He'd come in everyday and we usually left at the same time and when he came in it was always dark and he would clean up the mess we had made during the day. This particular day I was upstairs finishing some paperwork of something. He came in; he didn't know I was up there. It was very touching. It was wonderful. He apparently looked up at this big, shining thing, the Christ figure, and it had real meaning for him. It showed how deep his soul was, that a person could so strongly believe in something. You can see how some people could sacrifice for their lives for something. He took his hat off, a little painter's hat, then he laid his broom down very carefully and he said his prayers. It was a very toughing thing. There have been a lot of good thing that have happened up there (at Cross in the Woods). People have said, 'oh, this person has been cured, this person was lost and they felt better;' people who felt comfort. Fredericks relayed another story: "There was a Greek Orthodox Bishop. He had the hat and the great, big beard and gold cross. He told me that when he went up there (to Cross in the Woods) as a little boy, he was so inspired, he determined that he would be a priest. Now he's the archbishop of California." From Joy Colby Interview-1981: The Christ figure is six times life size. The pieces cast in Norway included "the big Christ figure; the whole Cleveland War Memorial with the exception of the sphere which was done in New York; the Spirit of Detroit; the huge twenty-foot one for Dallas, Texas; Youth in the Hands of God; and, oh, the Gazelle; and a Mother and Child; quite a lot of big things." Later in the same interview: And have you done other works with a religious theme? "Yes, I've done a number of religious things for different denominations. They have all been very meaningful to me and I've also done some altars with all the altarware. This big one up north is especially meaningful to me. You know it's the largest crucifix in the world." (this statement no longer holds true-2006) "It again started (when) the priest up there same to me and all they wanted was a life-size figure to put on the front lawn of the chapel. The whole thing (Cross in the Woods Catholic Shrine) is dedicated to an American Indian woman who they expect to be sanctified within some years. But it was such a beautiful, natural, wonderful place and such huge evergreen trees and so on, that it was obvious that if you put a little figure out in front, it would be just like any other little chapel anywhere in the work, it wouldn't mean anything, nobody would even stop there. The building was a very simple little cinder block building nicely designed, but sort of lost in the trees and what have you. So I said, 'If you're going to do one, why don't you do one that will really bring people here, bring people up north and make people think a little bit?' he priest was frightened, but he took me to see Bishop Babcock in Grand Rapids. Bishop Babcock was a real farsighted man and he listened and said, "That's what we'll do. Go right ahead. We'll get the money." I never got anything for my own work, but they got the money to execute it. I contributed my own time. But they built it. It is a big cross cut in California; we had to get permission from the Redwoods authority to cut the timber. They had to cut seven trees before thy got one big enough to get that straight piece fifty-five feet high by thirty-two inches square without sap running through it. Then we had to bring it across the country on two big flatcars fastened on one car so it could swing around the corners on the other car. That had to be brought all the way across the country up north. Up north we planed it all down and smoothed it. Then in the meantime while that was being done, I was working on the big Christ which I did in the studio in New York. I modeled every inch of it. Then I transported it to Norway in plaster in sections and cast it in bronze in Norway and brought it back in one big piece except for the arms which were separate. We couldn't get it on the ship with the arms on and also we couldn't take it up the roads in Michigan; it was too wide for the roads. So we took it up north and put the arms on up there. By the way, I have a really nice film of that, too, and some very interesting photographs showing that being put up. Putting it up was a very interesting experience, and frightening too. It almost fell over once. And there were some miraculous things about it that I still don't understand. For instance, on a figure that size which is so huge, you know, the hand are like that, and you try to do a big thing like that you ordinarily have to get back and forth, back and forth, and I had rather close quarters in the studio in New York and ordinarily to get the most…you put the clay on and you take it away and you add it and you take it away and you just go back and forth, back and forth and do things over and over. But it's a strange thing that just went along just miraculously. I had to take almost no clay away. It just seemed to grow in a very natural way. I never changed anything. There wasn't any of this, you; it'll look better this way or it'll look better that way, it just seemed to have a direction. And I don't know, I have a very strange superstitious feeling about it that somehow it was the right thing to do and I was doing it right. I really wanted it to be right. And therefore I didn't put the wounds in the side and didn't put on a crown of thorns, which you know in most churches you see that. That was a fight because the priest wanted those. But again, Bishop Babcock said, 'No. I agree with you, this should be a pleasant thing to look at, an encouraging thing, not a frightening thing or a worrisome thing.' And he said, 'We'll find out about this.' He had to get permission from the Vatican to leave those off. Isn't that interesting?" Yes fascinating. "It was really another little strange point that worked out. Many times people have said, 'I like it because He doesn't look like He's in misery.' Shall I tell you about the little man in my studio in New York? The Christ figure was there and every night a little Italian man would come in to sweep the floor and so on. He didn't speak English. He always had a little hat on. He'd come in just about the end of the day. Usually I'd be gone because it would be dark. One night I stayed a little late and it was getting quite dark. I was up on the balcony. I was washing up or something. I heard the front door open. He came in. He didn't know I was up there. He came in with his broom and his trash and got over to the Christ figure and he took his hat off and knelt down and said his prayers." What better response could you have had than that? "Well, I was so frightened and worried that he would know that I was there, so I hid in the washroom upstairs for fear that I would embarrass him. Well, after a while he went and finished. He didn't do a very good job anyway. He took off after he swept up. But what it did for me was made me realize that; here you are, you're representing the greatest human being that ever lived, at least in my opinion, and you have to represent it in the best way you can. You have to do your very best and you have to be as good as you can be. I just hope it was." You were very sure from the beginning that you wanted no crown of thorns or no wounds? "Yes, from the very first little sketch. That part of it I never thought entered into it. I think most people now accept it that it should be." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Christ on the Cross [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Christ on the Cross, 1959 Plaster Original Gift of Mr. and Mrs. Marshall M. Fredericks Fredericks was commissioned to sculpt a 6 foot tall crucifix, but instead designed this twenty-eight foot, full-scale model, for a bronze to be placed at Indian River Catholic Shrine in Indian River, Michigan. The bronze Corpus is mounted on a fifty-five foot tall redwood cross. When it was erected in 1959, it was believed to be the largest crucifix in the world. Since then, a sixty-five foot crucifix has been positioned in the cemetery of St. Thomas Catholic Church hear Bardstown, Kentucky. [NOTE: the Corpus on this work is only 14 feet in height] The Indian River figure required only three years to complete, but this plaster model was in restoration for seven years before being put on permanent display in the Main Exhibit Gallery. It had suffered from neglect during the two decades it was in storage at the foundry in Norway, Sweden after the bronze was cast. Note the absence of the crown of thorns and the wound in the figure's side. Fredericks chose not to depict the pain and suffering of Jesus. Instead, he shows the powerful body of Jesus at peace in the moment after death. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1959 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6350580008/in/set-72157628015891879" target="_blank">Christ on the Cross, Indian River, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350579986/in/set-72157628015891879" target="_blank">Christ on the Cross, Indian River, MI</a> Christ on the Cross Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka.svsu.edu/files/original/1991062_409916f070.jpg b0ca7c53900f8103ed1cd5505320e657 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 226 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 36" x 168" Materials Painted plaster full-scale Catalog Number 1991.062 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 3, 1992: "RE: Industry and Employment Activities, Recreational Activities, Motion in Nature, Transportation by Man Molly gave me some information on these four reliefs. They were made at a time when a law had just gone into effect requiring that a specific portion of every appropriation for a public building be used for works of art. She did not know if it was a state or national law. She had the following information written down which was probably spoken by Mr. Fredericks. "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter. - they a simple and lively expression which becomes as much literature as art. Each of the four compositions tell a story. In the Bureau of Employment Services Building lobby a plaque describes th work or industrial life of the state." (describing Industry and Employment Activities) Recreational Activities "describes the "goof life" and the joys of nature and recreation." Transportation by Man "expresses the movement in man and shows the evolution of Transportation from primitive beasts of burden to the modern expressway." MF archives: Marshall stated that these narrative reliefs were made when percentage-for-art programs came into existence. (This has to be confirmed.) The commissioning department officials stressed that the artwork should be "clear and uncomplicated." This excerpt may be from Fredericks: "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter.-they are simple and lively expression which becomes as much as literature as art. Each of the 4 compositions tells a story (narratives). In the Bureau of Employment Services Building lobby: 'Industry and Employment Activities' describes the work or industrial life of the state (Ohio); 'Recreational Activities' describes the good life and the joys of nature and recreation; 'Motion in Nature' expresses the movement in nature and from each element of it, young people will take great enjoyment; 'Transportation by Man' expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway." Facts: They are considered 4th dimension because they show a progression of time lapsing and indicate movement/progression of a theme. The plasters in the museum were painted silver because they were going to be cast in aluminum and this gave Fredericks an idea of how they would appear. 1. Industry and Other Employment Activities Miner, construction worker, farmer with animals, tool and dye workers, and casting workers. 2. Recreational Activities Gardening, golfing, sail boating, badminton, canoeing, horseback riding or fox hunting because there are dogs, hunting (animals seen: moose, raccoons, bear, birds). 2-point perspective composition; three triangular forms: two outer are land and one in center is water. One is on land that is land cultivated by man, one is on water and the last is in the wild or woods-land not cultivated by man. 3. Motion in Nature A flow of animals in an elongated diamond like shape. They are dragonflies, butterflies, birds (geese and or ducks), gazelles, greyhounds, rabbits, dolphins and flying fish. 4. Transportation by Man Earliest modes of travel-animal power: horses, mules, camels, and elephants, Roman chariot, England's "coach and four," early American covered wagon, Alaska dogsled, three abstracted airplanes in the air with jet fume tails, early to modern motorized vehicles. Swirling streamlined forms that the images appear on are indicative of road and cloverleaf highway that is on the right side near the modern automobile; indicating the development of the modern highway with the modern automobile. Molly Barth copy: The next pieces are four reliefs, two on either side of the Christ figure on the wall. They are located at the Columbus, Ohio, State Buildings, there are two twin buildings and there are two reliefs on each one. The one on the upper left is entitled "Industry," you have the different forms of industry with mining, and a foundry, pouring the molten metal, the power plants, farming industry, and the casting the rubber tire. Down below, the next relief is "Recreation" and we have all forms, golfers, someone planting a garden, sailboats, tennis players, some equestrian riders, and of course, there is hunting. These are cast in aluminum, while ours are the plaster models, painted silver to indicate the material used in casting. On the other side of the Christ figure, the lower sculpture is entitled "Motion in Nature." It depicts everything from the dragon fly, on the left, to the geese and the swans, and the gazelles and the greyhounds and the rabbits and the flying fish on the right. The one up above it is titled "Man and Transportation," and it shows different forms of transportation, the donkey, or mule, the elephant, stagecoach, and the jets and the automobiles. These twin buildings that I mentioned, one is the Department of Employment and Industry, and it holds the first two reliefs; the second building is the Department of Transportation and it holds the Man and Transportation" and "Motion in Nature" sculptures. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Industry and Employment Activities [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Animal sculpture--20th century Description An account of the resource INDUSTRY AND EMPLOYMENT ACTIVITIES, 1965 Plaster original painted silver Gift of Mr. and Mrs. Marshall M. Fredericks 1991.062 These four reliefs on either side of the Christ figure were designed for the Ohio bureau of Employment Services and Ohio Department of Transportation in Columbus, Ohio. Fredericks stated of these reliefs: "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter. They are (a) simple and lively expression which becomes as much literature as art. Each of the 4 compositions tells a story. In the Bureau of Employment Services Building lobby: Industry and Employment Activities describes the work or industrial life of the state (Ohio); Recreational Activities describes the good life and the joys of nature and recreation; Motion in Nature expresses the movement in nature and from each element of it, young people will take great enjoyment; Transportation by Man expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway." The reliefs are located in two buildings; Motion in Nature and Transportation by Man are in the Ohio Department of Transportation. Industry and Employment Activities and Recreational Activities are located in the Ohio Bureau of Employment Services Building. Images of these reliefs can be seen in the book, Marshall M. Fredericks, Sculptor, pages 164-165. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1965 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Industry and Other Employment Activities Marshall M. Fredericks Sculpture Museum Model Ohio Bureau of Employment Services and Ohio Department of Transportation Plaster Plaster Model Relief https://omeka.svsu.edu/files/original/1991063_822d1b1f69.jpg fd2c107e5a7b1681044ea7e0774085bb Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 258 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 41" x 173" Materials Painted plaster full-scale Catalog Number 1991.063 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 3, 1992: "RE: Industry and Employment Activities, Recreational Activities, Motion in Nature, Transportation by Man Molly gave me some information on these four reliefs. They were made at a time when a law had just gone into effect requiring that a specific portion of every appropriation for a public building be used for works of art. She did not know if it was a state or national law. She had the following information written down which was probably spoken by Mr. Fredericks. "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter. - they a simple and lively expression which becomes as much literature as art. Each of the four compositions tell a story. In the Bureau of Employment Services Building lobby a plaque describes th work or industrial life of the state." (describing Industry and Employment Activities) Recreational Activities "describes the "goof life" and the joys of nature and recreation." Transportation by Man "expresses the movement in man and shows the evolution of Transportation from primitive beasts of burden to the modern expressway." MF archives: Marshall stated that these narrative reliefs were made when percentage-for-art programs came into existence. (This has to be confirmed.) The commissioning department officials stressed that the artwork should be "clear and uncomplicated." This excerpt may be from Fredericks: "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter.-they are simple and lively expression which becomes as much as literature as art. Each of the 4 compositions tells a story (narratives). In the Bureau of Employment Services Building lobby: 'Industry and Employment Activities' describes the work or industrial life of the state (Ohio); 'Recreational Activities' describes the good life and the joys of nature and recreation; 'Motion in Nature' expresses the movement in nature and from each element of it, young people will take great enjoyment; 'Transportation by Man' expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway." Facts: They are considered 4th dimension because they show a progression of time lapsing and indicate movement/progression of a theme. The plasters in the museum were painted silver because they were going to be cast in aluminum and this gave Fredericks an idea of how they would appear. 1. Industry and Other Employment Activities Miner, construction worker, farmer with animals, tool and dye workers, and casting workers. 2. Recreational Activities Gardening, golfing, sail boating, badminton, canoeing, horseback riding or fox hunting because there are dogs, hunting (animals seen: moose, raccoons, bear, birds). 2-point perspective composition; three triangular forms: two outer are land and one in center is water. One is on land that is land cultivated by man, one is on water and the last is in the wild or woods-land not cultivated by man. 3. Motion in Nature A flow of animals in an elongated diamond like shape. They are dragonflies, butterflies, birds (geese and or ducks), gazelles, greyhounds, rabbits, dolphins and flying fish. 4. Transportation by Man Earliest modes of travel-animal power: horses, mules, camels, and elephants, Roman chariot, England's "coach and four," early American covered wagon, Alaska dogsled, three abstracted airplanes in the air with jet fume tails, early to modern motorized vehicles. Swirling streamlined forms that the images appear on are indicative of road and cloverleaf highway that is on the right side near the modern automobile; indicating the development of the modern highway with the modern automobile. Molly Barth copy: The next pieces are four reliefs, two on either side of the Christ figure on the wall. They are located at the Columbus, Ohio, State Buildings, there are two twin buildings and there are two reliefs on each one. The one on the upper left is entitled "Industry," you have the different forms of industry with mining, and a foundry, pouring the molten metal, the power plants, farming industry, and the casting the rubber tire. Down below, the next relief is "Recreation" and we have all forms, golfers, someone planting a garden, sailboats, tennis players, some equestrian riders, and of course, there is hunting. These are cast in aluminum, while ours are the plaster models, painted silver to indicate the material used in casting. On the other side of the Christ figure, the lower sculpture is entitled "Motion in Nature." It depicts everything from the dragon fly, on the left, to the geese and the swans, and the gazelles and the greyhounds and the rabbits and the flying fish on the right. The one up above it is titled "Man and Transportation," and it shows different forms of transportation, the donkey, or mule, the elephant, stagecoach, and the jets and the automobiles. These twin buildings that I mentioned, one is the Department of Employment and Industry, and it holds the first two reliefs; the second building is the Department of Transportation and it holds the Man and Transportation" and "Motion in Nature" sculptures. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recreational Activities [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Animal sculpture--20th century Description An account of the resource RECREATIONAL ACTIVITIES, 1965 Plaster original painted silver Gift of Mr. and Mrs. Marshall M. Fredericks 1991.063 These four reliefs on either side of the Christ figure were designed for the Ohio bureau of Employment Services and Ohio Department of Transportation in Columbus, Ohio. Fredericks stated of these reliefs: "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter. They are (a) simple and lively expression which becomes as much literature as art. Each of the 4 compositions tells a story. In the Bureau of Employment Services Building lobby: Industry and Employment Activities describes the work or industrial life of the state (Ohio); Recreational Activities describes the good life and the joys of nature and recreation; Motion in Nature expresses the movement in nature and from each element of it, young people will take great enjoyment; Transportation by Man expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway." The reliefs are located in two buildings; Motion in Nature and Transportation by Man are in the Ohio Department of Transportation. Industry and Employment Activities and Recreational Activities are located in the Ohio Bureau of Employment Services Building. Images of these reliefs can be seen in the book, Marshall M. Fredericks, Sculptor, pages 164-165. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1965 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Marshall M. Fredericks Sculpture Museum Model Ohio Bureau of Employment Services and Ohio Department of Transportation Plaster Plaster Model Relief https://omeka.svsu.edu/files/original/1991064_8667a0b836.jpg b02409db456e6b662e3f071398d8e392 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 179 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 28" x 175" Materials Painted Plaster full-scale Catalog Number 1991.064 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 3, 1992: "RE: Industry and Employment Activities, Recreational Activities, Motion in Nature, Transportation by Man Molly gave me some information on these four reliefs. They were made at a time when a law had just gone into effect requiring that a specific portion of every appropriation for a public building be used for works of art. She did not know if it was a state or national law. She had the following information written down which was probably spoken by Mr. Fredericks. "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter. - they a simple and lively expression which becomes as much literature as art. Each of the four compositions tell a story. In the Bureau of Employment Services Building lobby a plaque describes th work or industrial life of the state." (describing Industry and Employment Activities) Recreational Activities "describes the "goof life" and the joys of nature and recreation." Transportation by Man "expresses the movement in man and shows the evolution of Transportation from primitive beasts of burden to the modern expressway." MF archives: Marshall stated that these narrative reliefs were made when percentage-for-art programs came into existence. (This has to be confirmed.) The commissioning department officials stressed that the artwork should be "clear and uncomplicated." This excerpt may be from Fredericks: "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter.-they are simple and lively expression which becomes as much as literature as art. Each of the 4 compositions tells a story (narratives). In the Bureau of Employment Services Building lobby: 'Industry and Employment Activities' describes the work or industrial life of the state (Ohio); 'Recreational Activities' describes the good life and the joys of nature and recreation; 'Motion in Nature' expresses the movement in nature and from each element of it, young people will take great enjoyment; 'Transportation by Man' expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway." Facts: They are considered 4th dimension because they show a progression of time lapsing and indicate movement/progression of a theme. The plasters in the museum were painted silver because they were going to be cast in aluminum and this gave Fredericks an idea of how they would appear. 1. Industry and Other Employment Activities Miner, construction worker, farmer with animals, tool and dye workers, and casting workers. 2. Recreational Activities Gardening, golfing, sail boating, badminton, canoeing, horseback riding or fox hunting because there are dogs, hunting (animals seen: moose, raccoons, bear, birds). 2-point perspective composition; three triangular forms: two outer are land and one in center is water. One is on land that is land cultivated by man, one is on water and the last is in the wild or woods-land not cultivated by man. 3. Motion in Nature A flow of animals in an elongated diamond like shape. They are dragonflies, butterflies, birds (geese and or ducks), gazelles, greyhounds, rabbits, dolphins and flying fish. 4. Transportation by Man Earliest modes of travel-animal power: horses, mules, camels, and elephants, Roman chariot, England's "coach and four," early American covered wagon, Alaska dogsled, three abstracted airplanes in the air with jet fume tails, early to modern motorized vehicles. Swirling streamlined forms that the images appear on are indicative of road and cloverleaf highway that is on the right side near the modern automobile; indicating the development of the modern highway with the modern automobile. Molly Barth copy: The next pieces are four reliefs, two on either side of the Christ figure on the wall. They are located at the Columbus, Ohio, State Buildings, there are two twin buildings and there are two reliefs on each one. The one on the upper left is entitled "Industry," you have the different forms of industry with mining, and a foundry, pouring the molten metal, the power plants, farming industry, and the casting the rubber tire. Down below, the next relief is "Recreation" and we have all forms, golfers, someone planting a garden, sailboats, tennis players, some equestrian riders, and of course, there is hunting. These are cast in aluminum, while ours are the plaster models, painted silver to indicate the material used in casting. On the other side of the Christ figure, the lower sculpture is entitled "Motion in Nature." It depicts everything from the dragon fly, on the left, to the geese and the swans, and the gazelles and the greyhounds and the rabbits and the flying fish on the right. The one up above it is titled "Man and Transportation," and it shows different forms of transportation, the donkey, or mule, the elephant, stagecoach, and the jets and the automobiles. These twin buildings that I mentioned, one is the Department of Employment and Industry, and it holds the first two reliefs; the second building is the Department of Transportation and it holds the Man and Transportation" and "Motion in Nature" sculptures. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Motion in Nature [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource MOTION IN NATURE, 1965 Plaster original painted silver Gift of Mr. and Mrs. Marshall M. Fredericks 1991.064 These four reliefs on either side of the Christ figure were designed for the Ohio bureau of Employment Services and Ohio Department of Transportation in Columbus, Ohio. Fredericks stated of these reliefs: "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter. They are (a) simple and lively expression which becomes as much literature as art. Each of the 4 compositions tells a story. In the Bureau of Employment Services Building lobby: Industry and Employment Activities describes the work or industrial life of the state (Ohio); Recreational Activities describes the good life and the joys of nature and recreation; Motion in Nature expresses the movement in nature and from each element of it, young people will take great enjoyment; Transportation by Man expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway." The reliefs are located in two buildings; Motion in Nature and Transportation by Man are in the Ohio Department of Transportation. Industry and Employment Activities and Recreational Activities are located in the Ohio Bureau of Employment Services Building. Images of these reliefs can be seen in the book, Marshall M. Fredericks, Sculptor, pages 164-165. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1965 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Marshall M. Fredericks Sculpture Museum Model Ohio Bureau of Employment Services and Ohio Department of Transportation Plaster Plaster Model Relief https://omeka.svsu.edu/files/original/1991065_ed288dcbc0.jpg 613abafe00b0590e13ab23a71dc18a42 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 239 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 31" x 175" Materials Painted plaster full-scale Catalog Number 1991.065 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 3, 1992: "RE: Industry and Employment Activities, Recreational Activities, Motion in Nature, Transportation by Man Molly gave me some information on these four reliefs. They were made at a time when a law had just gone into effect requiring that a specific portion of every appropriation for a public building be used for works of art. She did not know if it was a state or national law. She had the following information written down which was probably spoken by Mr. Fredericks. "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter. - they a simple and lively expression which becomes as much literature as art. Each of the four compositions tell a story. In the Bureau of Employment Services Building lobby a plaque describes th work or industrial life of the state." (describing Industry and Employment Activities) Recreational Activities "describes the "goof life" and the joys of nature and recreation." Transportation by Man "expresses the movement in man and shows the evolution of Transportation from primitive beasts of burden to the modern expressway." MF archives: Marshall stated that these narrative reliefs were made when percentage-for-art programs came into existence. (This has to be confirmed.) The commissioning department officials stressed that the artwork should be "clear and uncomplicated." This excerpt may be from Fredericks: "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter.-they are simple and lively expression which becomes as much as literature as art. Each of the 4 compositions tells a story (narratives). In the Bureau of Employment Services Building lobby: 'Industry and Employment Activities' describes the work or industrial life of the state (Ohio); 'Recreational Activities' describes the good life and the joys of nature and recreation; 'Motion in Nature' expresses the movement in nature and from each element of it, young people will take great enjoyment; 'Transportation by Man' expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway." Facts: They are considered 4th dimension because they show a progression of time lapsing and indicate movement/progression of a theme. The plasters in the museum were painted silver because they were going to be cast in aluminum and this gave Fredericks an idea of how they would appear. 1. Industry and Other Employment Activities Miner, construction worker, farmer with animals, tool and dye workers, and casting workers. 2. Recreational Activities Gardening, golfing, sail boating, badminton, canoeing, horseback riding or fox hunting because there are dogs, hunting (animals seen: moose, raccoons, bear, birds). 2-point perspective composition; three triangular forms: two outer are land and one in center is water. One is on land that is land cultivated by man, one is on water and the last is in the wild or woods-land not cultivated by man. 3. Motion in Nature A flow of animals in an elongated diamond like shape. They are dragonflies, butterflies, birds (geese and or ducks), gazelles, greyhounds, rabbits, dolphins and flying fish. 4. Transportation by Man Earliest modes of travel-animal power: horses, mules, camels, and elephants, Roman chariot, England's "coach and four," early American covered wagon, Alaska dogsled, three abstracted airplanes in the air with jet fume tails, early to modern motorized vehicles. Swirling streamlined forms that the images appear on are indicative of road and cloverleaf highway that is on the right side near the modern automobile; indicating the development of the modern highway with the modern automobile. Molly Barth copy: The next pieces are four reliefs, two on either side of the Christ figure on the wall. They are located at the Columbus, Ohio, State Buildings, there are two twin buildings and there are two reliefs on each one. The one on the upper left is entitled "Industry," you have the different forms of industry with mining, and a foundry, pouring the molten metal, the power plants, farming industry, and the casting the rubber tire. Down below, the next relief is "Recreation" and we have all forms, golfers, someone planting a garden, sailboats, tennis players, some equestrian riders, and of course, there is hunting. These are cast in aluminum, while ours are the plaster models, painted silver to indicate the material used in casting. On the other side of the Christ figure, the lower sculpture is entitled "Motion in Nature." It depicts everything from the dragon fly, on the left, to the geese and the swans, and the gazelles and the greyhounds and the rabbits and the flying fish on the right. The one up above it is titled "Man and Transportation," and it shows different forms of transportation, the donkey, or mule, the elephant, stagecoach, and the jets and the automobiles. These twin buildings that I mentioned, one is the Department of Employment and Industry, and it holds the first two reliefs; the second building is the Department of Transportation and it holds the Man and Transportation" and "Motion in Nature" sculptures. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transportation by Man [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Animal sculpture--20th century Description An account of the resource TRANSPORTATION BY MAN, 1965 Plaster original painted silver Gift of Mr. and Mrs. Marshall M. Fredericks 1991.065 These four reliefs on either side of the Christ figure were designed for the Ohio bureau of Employment Services and Ohio Department of Transportation in Columbus, Ohio. Fredericks stated of these reliefs: "Sculptural expression is clear and uncomplicated that the viewer should need no interpreter. They are (a) simple and lively expression which becomes as much literature as art. Each of the 4 compositions tells a story. In the Bureau of Employment Services Building lobby: Industry and Employment Activities describes the work or industrial life of the state (Ohio); Recreational Activities describes the good life and the joys of nature and recreation; Motion in Nature expresses the movement in nature and from each element of it, young people will take great enjoyment; Transportation by Man expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway." The reliefs are located in two buildings; Motion in Nature and Transportation by Man are in the Ohio Department of Transportation. Industry and Employment Activities and Recreational Activities are located in the Ohio Bureau of Employment Services Building. Images of these reliefs can be seen in the book, Marshall M. Fredericks, Sculptor, pages 164-165. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1965 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Marshall M. Fredericks Sculpture Museum Model Ohio Bureau of Employment Services and Ohio Department of Transportation Plaster Plaster Model Relief https://omeka.svsu.edu/files/original/1991066_04955fbcda.jpg 359e41cf737b8bfd19f0f9f18e8f96e6 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 190 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 206.5" x Materials Plaster full-scale Catalog Number 1991.066 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes Early Detroit: 1701-1760 was founded July 24, 1701, by Antoine de Lamoree Cadillac, who landed in this vicinity on that date. With him were one hundred Frenchmen and a like number of Indians. Cadillac took possession of the land in the name of Louis VBW. Here was built Fort Ponticellos to prevent English traders from using the water route to the upper Great Lakes. The site was on the peninsula between the Detroit River and Savoyard Creek. Huron, Ottawa and Potawatomi Indians accepted the invitation of Cadillac to settle near the fort. Detroit he wished to develop as an agricultural settlement. Mesdames Cadillac and Tony arrived later in 1701. Other families followed them. After Cadillac's removal in 1710, Detroit's growth was retarded for many years. In 1712 the French and their Indian allies fought and destroyed a band of Fox Indians camped north of the fort. The French crown encouraged the development of the colony in the 1740s by offering seed, livestock and farm equipment to settlers. The fort was enlarged in the 1750s. Detroit then had a French population of about one thousand, and farms lined the river above and below the fort as well as across the river. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Founding of Detroit Pylon [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Founding of Detroit Pylon, 1950 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.066 The Victory Eagle on the facade of the Veterans Memorial Building in Detroit is 30 feet high and projects 4-½ feet from the wall in high relief. The museum displays the quarter-scale version and two of the seven free-standing pylons originally placed in front of the building along the walkway leading to the entrance. The pylons were later moved next to the building parallel to the facade. Twenty feet high and carved with incised relief, they depict scenes from important events in the city's history. Here, the Founding of Detroit Pylon and Civil War Pylon frame either side of The Victory Eagle. On the right, the Civil War Pylon shows Abraham Lincoln parting the North and South. Below are Generals Grant and Lee. The Founding of Detroit Pylon on the left depicts the French explorer, Antione de la Mothe de Cadillac, who founded Detroit in 1701. Below Cadillac is Father Gabriel Richard who made important contributions to the early spiritual, educational and cultural life of Detroit. Other pylons include Indian Wars, Battle of the Great Lakes, Spanish-American War, Battle of Lake Erie, War of 1812, WWII, and the Peace pylon. The Peace pylon is engraved, "In the hearts of all mankind is the Eternal Hope for Universal Peace." Fredericks stated about the Victory Eagle: "The problem was to take a natural object, one especially familiar to everyone, and simplify it in form to something almost architectural in quality, absolutely abstract in form and line, to tie in with the masses and character of the building, yet retain the character and meaning of the natural object. Also, it was necessary to indicate power and motion of the eagle, still make it an integral part of the marble wall, solid yet mobile; an architectural entity, and yet imbue it with the spirit of life." As a result of this sculpture, Fredericks was awarded the American Institute of Arts Medal in 1952, a distinction awarded only five times between 1914 and 1998. In 1953, he was awarded an honorary life membership in the Michigan Society of Architects as the first sculptor to be honored by them. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1947 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Founding of Detroit Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief Veterans Memorial Building https://omeka.svsu.edu/files/original/1991067_9d07f74fa1.jpg 0acdb644f58d81915b69c4bed987e7e8 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 674 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 94" x 70" Materials Plaster Catalog Number 1991.067 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 July,1 Gift to Museum and SVSU Board of Control Notes On the wall, we have the "Veterans' Memorial Eagle," this is just the quarter scale. As we go along through the Gallery, I'll be mentioning, quarter-scale, 1/3 scale, or full-scale. This one, as I mentioned, is the "Eagle" from the Veterans' Memorial Building that's down there on Jefferson Avenue in Detroit, which runs parallel with the Detroit River. This is just the quarter-scale eagle. The Eagle that's on the Veterans' Building is 30 feet tall, and it projects out four feet from the facade of the building. The Eagle, when it was originally quarried--it was carved from Vermont marble, and when it was quarried, there were 11 blocks and all together, they weighed 210 tons. The largest ever quarried, the largest block ever quarried, was quarried for this eagle; that alone weighed 86 tons. This was quarried in Danbury, Vermont. There's a large mountain there and they pulled this one block out that weighed 86 tons, and they got it out into the sunlight, and they saw that there was a slight flaw in it, so instead of taking the risk that it might crack, they chose to quarry, Mr. Fredericks did, to quarry another one just as large as that one that weighed 86 tons. The "Eagle," as you hurtle by automobile on Jefferson Avenue catches your eye. It really personalizes the building; the wings of the "Eagle," forming a "V" for victory, and, of course, for veterans. And then, in his talons, his claws, he is holding the laurel and the palm, which stand for glory and for victory. There are also seven free-standing pylons, as you walk up to the building, each telling a different story of American history. We have two pylons here in the Gallery. The pylon on the right that flanks the eagle is the "Civil War "pylon. On it you see Abraham Lincoln and the parting of the North and South, and General Grant and General Lee. The pylon on the left is the French explorer, Cadillac. Of course, the French founded Detroit in 1701. Beneath Cadillac on the pylon is Father Gabriel Richard. Both of these pylons give an example of incised, low-relief carving. They are carved into the marble, as opposed to the "Eagle" where it's coming out at you. The pylons were also carved in Vermont marble. Later the city of Detroit, without Mr. Fredericks' knowledge, they moved the pylons, and now they are parallel with the building. Before they formed, sort of a right angle, so they gave almost a one-point perspective. They also, without notifying Mr. Fredericks, they sand-blasted them, they thought that was the proper way of cleaning them, but they could not have done a worse thing to them, because sand-blasting actually bit into the stone and removed some of the very fine detail of the carving. Mr. Fredericks really did personalize the building, and he worked right along with the architect. His work is "public sculpture." Really, architecture and sculpture go hand-in-hand. They had to design a special support-system for the "Eagle" that was built right into the wall, the facade of the building. Really, Mr. Fredericks wears many hats, an engineer, and architect and, of course, master sculptor. Let me tell you a story. When they were hoisting one portion of the left wing of the "Eagle," the cable where the crane was lifting it, the cable snapped, and down went one portion of that wing, but luckily, it was just swallowed in the construction mud, and they were able to rinse it off and just lift it back up there, but if it had cracked, and Mr. Fredericks had delayed the construction crew, he would have had to pay for every day that he delayed them. But luckily, that didn't happen. You don't realize the hurdles that you really have to get over, you know, putting these large, monumental pieces up. The Veterans' Memorial Building was dedicated in 1950. I will check that date, but I'm pretty sure that's it. It took him four years from start to finish for the "Eagle" and the pylons, but he also did another, the "Seal of the United States" that's right to the side of the entrance to the Veterans' Memorial Building. It's on the red granite marble wall, and then the bronze casting of the "Great Seal of the United States," that's there by the entrance to the building. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: In describing the building for the sculpture he said, "It was a war memorial and there were windows all the way across the whole building on all four sides and there was a little space for the relief. I saw it and I didn't say anything. But I made a scale model out of wood and took all the windows off the front and put the eagle on there. The architect came out to see it and was really pleased. He changed all the drawings. Otherwise, I don't think I would have ever gotten that job." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource American Eagle, Federal Reserve Bank Cincinnati [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Plaster relief ogf an eagle with wings upward in flight. The composition is angular with hard lines. There are several stars on the otherwise flat background. The American Eagle was created for the John Weld Peck Federal Building in Cincinnati, Ohio in 1964. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1947 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) American Eagle (Victory Eagle) Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief https://omeka.svsu.edu/files/original/1991068_2fb83d25c8.jpg 389191ed52dcf23225295e084a7f6753 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 193 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 204" x 37.5" Materials Plaster full-scale Catalog Number 1991.068 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 gifted to MFSM Notes On the right, the Civil War Pylon shows Abraham Lincoln parting the North and South. Below are Generals Grant and Lee. The Founding of Detroit Pylon on the left depicts the French explorer, Antione de la Mothe de Cadillac, who founded Detroit in 1701. Below Cadillac is Father Gabriel Richard who made important contributions to the early spiritual, educational and cultural life of Detroit. Other pylons include Indian Wars, Battle of the Great Lakes, Spanish-American War, Battle of Lake Erie, War of 1812, WWII, and the Peace pylon. The Peace pylon is engraved, "In the hearts of all mankind is the Eternal Hope for Universal Peace." Fredericks stated about the Victory Eagle: "The problem was to take a natural object, one especially familiar to everyone, and simplify it in form to something almost architectural in quality, absolutely abstract in form and line, to tie in with the masses and character of the building, yet retain the character and meaning of the natural object. Also, it was necessary to indicate power and motion of the eagle, still make it an integral part of the marble wall, solid yet mobile; an architectural entity, and yet imbue it with the spirit of life." As a result of this sculpture, Fredericks was awarded the American Institute of Arts Medal in 1952, a distinction awarded only five times between 1914 and 1998. In 1953, he was awarded an honorary life membership in the Michigan Society of Architects as the first sculptor to be honored by them. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War Pylon [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Civil War Pylon, 1950 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.068 The Victory Eagle on the facade of the Veterans Memorial Building in Detroit is 30 feet high and projects 4-½ feet from the wall in high relief. The museum displays the quarter-scale version and two of the seven free-standing pylons originally placed in front of the building along the walkway leading to the entrance. The pylons were later moved next to the building parallel to the facade. Twenty feet high and carved with incised relief, they depict scenes from important events in the city's history. Here, the Founding of Detroit Pylon and Civil War Pylon frame either side of The Victory Eagle. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1950 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Civil War Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief Veterans Memorial Building https://omeka.svsu.edu/files/original/1991069_c99bbc64a9.jpg d29f1f2de9c68bcc4f37b27825e2d569 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 892 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 48" x 48" Materials Plaster Catalog Number 1991.069 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes The "S" was a prototype of the Model T. The panel was carved on buff Carrara limestone in 1939. MF archives: Fredericks carved the original limestone relief that was placed in the public lobby of the Post Office. He received this commission as a result of an honorable mention in a section of Fine Arts Competition. Because the automobile industry was the most important factor in the development of the Detroit area, the sculptor has chosen to depict one of the very early cars. The "horseless carriage", with its two occupants, speeds along, leaving a trail of dust and smoke. Two children and a dog run delightedly beside the car while pigs and chickens flee in terror. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Horseless Carriage (Model S Ford Children and Animals - Sunday Afternoon) [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Animal sculpture--20th century Description An account of the resource Horseless Carriage (Model S. Ford, Children and Animals Sunday Afternoon), 1939 Plaster original Fredericks designed and carved the original limestone relief that was placed in the public lobby of the Post Office in River Rouge, Michigan. He received this commission as a result of an honorable mention in a section of Fine Arts Competition at the World's Fair in New York in 1939. Because the automobile industry was the most important factor in the development of the Detroit area, the sculptor chose to depict one of the very early cars. The "horseless carriage," with its two occupants, speeds along leaving a trail of dust and smoke. Two children and a dog run delightedly beside the car while pigs, chickens, and a startled bird dart away in terror. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1939 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Animal Animal Sculpture Figure sculpture Horseless Carriage (Model S Ford Children and Animals - Sunday Afternoon) Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief https://omeka.svsu.edu/files/original/1991070_01d0ab8528.jpg f7e6e02192e5f594fc9af1f543be4006 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 142 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 48" x 528" Materials Painted Plaster full-scale Catalog Number 1991.070 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 July,1 Gift to Museum and SVSU Board of Control Notes MF, Sculptor copy: "Union Station on Fort Street in Detroit was a landmark of nineteenth-century Romanesque architecture used by the Chesapeake and Ohio, Baltimore and Ohio, Pennsylvania, and Wabash railroads. Passengers left from its platforms for the great ports of the Atlantic coast south of New York, and for St. Louis and the West. When it was remodeled and modernized after the war, Fredericks was asked to do something on the long narrow band of wall over the doors through which travelers passed to the train platforms. On what would appear an awkwardly long and constricted span, Fredericks executed in polished aluminum a free-floating relief, forty-four feet long, which he called The Romance of Transportation (figs. 150-153). Beginning at the left with the opening of the West-Indians, a wagon train, stagecoaches, highwaymen-the relief swells into a crescendo of railroads and a streamlined train, then tapers off through airplanes and automobiles, to motorcycles and bicycles. The successive forms flow into each other, accentuated by the gleam of hammered and polished aluminum, leading the eye easily from one end to the other of a symbolic history of a people in movement. The relief was put in place in 1950. Subsequently, as the railroads' passenger traffic declined, the Fort Street Station, as it was popularly known, was demolished. The relief was removed to the Railroad Museum in Baltimore, where it remains on view." The work displays the 4th dimension--time. It shows a progression of time in methods of transportation from horses and man-powered vehicles to engine powered vehicles. Two motifs are located next to it: Molly Barth's copy: The long relief on the west wall of the gallery is titled The Romance of Transportation. This plaster model has been painted silver because it was cast in aluminum. The aluminum cast was dedicated in 1951 at the Fort Street Railroad Station in downtown Detroit during a major renovation of the building which was built in 18??. They commissioned Fredericks to make a relief for a long, narrow space above the gates to the train platforms. In this design, the diesel locomotives are intermixed with the older forms of transportation. On the left are Indians and the covered wagons, and stagecoaches. The locomotives in the center are the powerful ones. Notice also the cars, airplanes, bicycles, and the motorcycle and dog on the far right. Once trains ceased to be a popular mode of transportation, with airplanes being so much faster, the depot was closed and then demolished, I believe in 1970. The aluminum cast of this relief and the two reliefs above the exit sign here in the Gallery. Modern Trains, and Horse and Antique Trains, which were also done for the Fort Street Station were removed. They were then sent to the Baltimore Railroad Museum, where they are (hopefully) on exhibit now. [Discuss plaster model sections of original model, some sections made from aluminum cast in Detroit.] Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Romance of Transportation [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Animal sculpture--20th century Description An account of the resource Romance of Transportation, 1951 Plaster original painted silver This 44-foot long relief mural was originally located at the Fort Street Union Depot in Detroit, Michigan. It has since been relocated to the B. & O. Railroad Museum in Baltimore, Maryland. This plaster original is painted silver to more closely resemble the original cast in aluminum. Because it is so long, it was cast in twelve sections, then welded together. This sculpted mural depicts the development of transportation in America. According to the dedication program: "Fredericks chose the modern steam locomotive and a streamlined diesel, which he contrasted with older modes of travel to form a panoramic history of transportation in America (including) Indian riders of the plains, the ox-drawn prairie schooners and stage coaches of the western pioneers, and one of the first wood-burning locomotives. On the right are the high wheel bikes of the 1890s, the runabout and touring car of the early 1900s, the first airplane, and another wood burning locomotive of civil war vintage. The work was designed to convey the impression of life and motion, and at the same time, create sustained interest by depicting many forms of old-time transportation." When Fredericks first started to do the design for this sculpture he thought of using many forms of transportation rather than just a large train. He claimed it would be "more interesting for people." These same themes are incorporated into the two reliefs centered below The Romance of Transportation, Modern Trains and Horse and Antique Trains. These were located at the main entrance of the Fort Street Union Depot. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1951 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief The Romance of Transportation