328 10 8302 https://omeka.svsu.edu/files/original/1991014_07a3a535b5.jpg d9eb358002984e2380bc6bdc275f864d 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 614 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. 52" x 47.75" x 47.75" Materials Plaster full-scale Catalog Number 1991.014 Object Location Location of object in collection. Main Exhibit Gallery Provenance 06/25/1987 gifted to MFSM Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 25, 1991 "RE: Four Animal Kingdoms While I was doing the inventory at the studio Molly told me that the sculpture titled Meditation from 1937 was a study for the Four Animal Kingdoms. It is a female figure in the same position but she is not holding anything in her lap." 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 Bird Kingdom [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Animal Kingdoms Fish Kingdom, 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.011 Mammal Kingdom (seal), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.012 Reptile Kingdom (crocodile), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.013 Bird Kingdom (swan), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.014 Fredericks originally created nine inch high versions of these four forms in 1938-39 and they were cast in bronze. In 1987, he enlarged them to this size in plaster for the Main Exhibit Gallery. Each of the four animal kingdoms: fish, mammal, reptile, and bird display the streamlined and simplified characteristics of the Art Deco style. In a videotaped interview in 1987, Fredericks stated: "I think any artist who forgets nature is losing a great deal of his life. Nature is so full, so manifold. The animal and bird kingdoms, the plant kingdoms, and all those kingdoms are such a wonderful expression of nature, we must appreciate them. There is something so touching about these non-human creatures. I find it very interesting to combine the two. " 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 1987 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 Kingdoms Animal Sculpture Bird Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka.svsu.edu/files/original/1991013_85a548e029.jpg b4a27c2b7f9137c00b858636b8dcba7e 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 635 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. 55" x 44.75" x 50" Materials Plaster full-scale Catalog Number 1991.013 Object Location Location of object in collection. Main Exhibit Gallery Provenance 06/25/1987 gifted to MFSM Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 25, 1991 "RE: Four Animal Kingdoms While I was doing the inventory at the studio Molly told me that the sculpture titled <a href="../../../items/show/6492" target="_blank"><strong>Meditation</strong></a> from 1937 was a study for the Four Animal Kingdoms. It is a female figure in the same position but she is not holding anything in her lap." 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 Animal Kingdoms - Reptile, [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Animal Kingdoms Fish Kingdom, 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.011 Mammal Kingdom (seal), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.012 Reptile Kingdom (crocodile), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.013 Bird Kingdom (swan), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.014 Fredericks originally created nine inch high versions of these four forms in 1938-39 and they were cast in bronze. In 1987, he enlarged them to this size in plaster for the Main Exhibit Gallery. Each of the four animal kingdoms: fish, mammal, reptile, and bird display the streamlined and simplified characteristics of the Art Deco style. In a videotaped interview in 1987, Fredericks stated: "I think any artist who forgets nature is losing a great deal of his life. Nature is so full, so manifold. The animal and bird kingdoms, the plant kingdoms, and all those kingdoms are such a wonderful expression of nature, we must appreciate them. There is something so touching about these non-human creatures. I find it very interesting to combine the two. " 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 1987 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum 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 Kingdoms Animal Sculpture Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Reptile https://omeka.svsu.edu/files/original/1991012_4de2cfdf63.jpg a66806d261fb8dd93b90a19dd00cf069 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 644 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. 53" x 48" x 49" Materials Plaster full-scale Catalog Number 1991.012 Object Location Location of object in collection. Main Exhibit Gallery Provenance 06/25/1987 gifted to MFSM Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 25, 1991 "RE: Four Animal Kingdoms While I was doing the inventory at the studio Molly told me that the sculpture titled Meditation from 1937 was a study for the Four Animal Kingdoms. It is a female figure in the same position but she is not holding anything in her lap." 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 Animal Kingdoms - Mammal, [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Animal Kingdoms Fish Kingdom, 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.011 Mammal Kingdom (seal), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.012 Reptile Kingdom (crocodile), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.013 Bird Kingdom (swan), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.014 Fredericks originally created nine inch high versions of these four forms in 1938-39 and they were cast in bronze. In 1987, he enlarged them to this size in plaster for the Main Exhibit Gallery. Each of the four animal kingdoms: fish, mammal, reptile, and bird display the streamlined and simplified characteristics of the Art Deco style. In a videotaped interview in 1987, Fredericks stated: "I think any artist who forgets nature is losing a great deal of his life. Nature is so full, so manifold. The animal and bird kingdoms, the plant kingdoms, and all those kingdoms are such a wonderful expression of nature, we must appreciate them. There is something so touching about these non-human creatures. I find it very interesting to combine the two. " 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 1987 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 Kingdoms Animal Sculpture Figure Figure sculpture Mammal Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka.svsu.edu/files/original/1991011_bc3273ca2a.jpg 466746356a71840cda67518745a523be 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 608 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. 53" x 47" x 47" Materials Plaster full-scale Catalog Number 1991.011 Object Location Location of object in collection. Main Exhibit Gallery Provenance 06/25/1987 gifted to MFSM Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 25, 1991 "RE: Four Animal Kingdoms While I was doing the inventory at the studio Molly told me that the sculpture titled Meditation from 1937 was a study for the Four Animal Kingdoms. It is a female figure in the same position but she is not holding anything in her lap." 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 Animal Kingdoms - Fish, [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Animal Kingdoms Fish Kingdom, 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.011 Mammal Kingdom (seal), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.012 Reptile Kingdom (crocodile), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.013 Bird Kingdom (swan), 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.014 Fredericks originally created nine inch high versions of these four forms in 1938-39 and they were cast in bronze. In 1987, he enlarged them to this size in plaster for the Main Exhibit Gallery. Each of the four animal kingdoms: fish, mammal, reptile, and bird display the streamlined and simplified characteristics of the Art Deco style. In a videotaped interview in 1987, Fredericks stated: "I think any artist who forgets nature is losing a great deal of his life. Nature is so full, so manifold. The animal and bird kingdoms, the plant kingdoms, and all those kingdoms are such a wonderful expression of nature, we must appreciate them. There is something so touching about these non-human creatures. I find it very interesting to combine the two. " 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 1987 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 Kingdoms Animal Sculpture Figure Figure sculpture Fish Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka.svsu.edu/files/original/1991010_b556bf49be.jpg 89f3bc6d4ad69883f2da5161b251cb98 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 541 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. 46" x 60" x 144" Materials Plaster full-scale Catalog Number 1991.010 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 August, 31 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated August 23, 1991: "RE: Nordic Civilization In Leah Mueller's paper she identifies the figure in this sculpture as Aegir or his son Ler. From the research I have done, I learned that Ler or Her is just another name for Aegir. I also learned that in Norse mythology there are two other ocean divinities: Niord or Njord and Mimir. However Aegir does seem to be the most prominent sea deity. He is described as being and old man with a long white beard and claw-like fingers. He is said to dwell in the deep sea and seemed to have an evil side, sometimes causing tempests. However he was considered to be omnipotent in his realm. Njord was a benevolent god who stilled the tempests of Aegir. He was portrayed as a personification of summer being in his prime of life. The only reference I could find to Mimir is that he was a sea giant who was known for his wisdom. If the figure represents a specific sea god at all, I would guess that it is Aegir because of the fact that her was the most prominent Nordic sea god and his physical characteristics seem to match most closely. The source of my information is from several books, the relevant sections of which are photocopied in the Nordic Civilization object file." Symbolism: Poseidon/Neptune/Thor: sibling of Zeus and Hades; god of all bodies of water; first to tame horses and sometimes portrayed in chariot drawn by seahorses; attribute is the trident, a traditional three-pronged fishing tool. Thor is the ancient Scandinavian god of thunder and his attribute is a mighty hammer. Thor calms the seas; there is popular story of him fishing for the world serpent. Dolphins/porpoise: linked to Apollo and his gifts of prophecy and wisdom; association with healing and the sea; savior and rescuer in myths; Greco Roman carrier of the gods and human souls. Two sharks: symbolize the dangers of nature 4 fish: associated with the name Christ; Eucharistic symbol; sea creature Turtle: strength endurance and bearers of the world; Native American: earth and earth mother-support of world; immortality, patience, wisdom, great experience, associated with water and safety at sea. Molly Barth copy: Right next to it, we have "The Nordic Civilization," here with the tortoise, and the shark's bodies wrapping themselves around the piece, and then you have Poseidon, the god of the sea, with his flowing beard, as though it's in water. Then you have the porpoises and then the sturgeons up on top. This is another one, the other one, it's also carved of norwegian emerald pearl granite. 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 Nordic Civilization [Plaster] Description An account of the resource Nordic Civilization, from Fountain of Eternal Life: Peace Arising from the Flames of War, 1964 Plaster, 1987 Gift of Mr. and Mrs. Marshall M. Fredericks 1991.010 This full-scale model of one auxiliary sculpture of the Fountain of Eternal Life, Cleveland, Ohio, characterizes the Nordic civilization, a culture that has been defined and shaped by the sea. The smoothness of the surface and the graceful, curving lines are highly suggestive of the sea itself. The Nordic people are at the mercy of the large, powerful sea-god Poseidon, who has the ocean under his command. His large right hand rests upon the body of a shark. His other arm is outstretched and the hand's palm is downward suggesting his control of the waves and all within his reach. Fredericks unites Poseidon with familiar creatures of the sea: porpoise, sturgeons, and tortoise to suggest the union of this god and his minions. 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 1955 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/6349855375/in/set-72157628015891879"><strong>Cleveland War Memorial, Cleveland, OH</strong></a> Animal Animal Sculpture Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Nordic Civilization Plaster Plaster Model https://omeka.svsu.edu/files/original/1991009_4d15ee8b92.jpg 2f48bc8c738ab7b1c2cfcec3d680cb12 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 472 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 56" x 168" Materials Plaster full-scale Catalog Number 1991.009 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1988 January, 27 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated August 22, 1991 "RE: Easter Civilization Although some of the facts on Hindu mythology are not definite, I think I can conclude who the figures are in Eastern Civilization. In Hindu mythology there is a triad of gods: Brahma the creator, Vishnu the preserver, and Shiva or Siva the destroyer. Some say that Shiva is the supreme god but there is controversy. I believe the large figure on the right is Shiva. Identifying characteristics are three eyes and four arms. He is also known as having both male and female attributes which explains his feminine qualities. Two other figures in the compostion are both closely related to Shiva. These are Nandi, the bull, and Ganesh or Ganesa, the elephant-headed god. Nandi was Shiva's personal mode of transportation. Ganesh was possibly the son of Shiva but the stories vary. All stories relate that they were closely related. Ganesh was one of the most popular Hindu deities. Explanations of the origin of the elephant head vary. (Some are described in "Indian Mythology" by Veronica Ions, p. 101) The female figure directly to Shiva's left does not have any distinguishing characteristics. However the fact that Shiva seems to be pointing to her and the fact that she appears to be dancing may indicate that she is Shiva's wife, the beautiful Parvati. Shiva is known as the lord of the dance. On one occasion the tow had a dancing contest. Additionally, Shiva delegates to his wife the task of dancing the cosmic dance, but at this point her name was Kali. (Hindu Mythology, p.224) In her paper, Leah Mueller identifies the large figure on the right as Rama, the seventy of ten incarnations of Vishnu. She bases this on the fact that an ape or monkey leans over his shoulder. Hanuman, the general of the monkey army, was known for his faithful service to Rama. One of the docents, Jo Ann Robertson, said that on one occasion she heard Mr. Fredericks say the reason he put the monkey thee was because monkeys are all over India. Additionally, Fredericks fondness for primates is evident by several of his other works. In Molly's tour tape she says the figure on the far left is the sacred cow. However cows do not have horns as bulls do. She also says that the reason one of the Ganesh's tusks is broken is because he did it when working. She goes on to say that he is a symbol of good luck because of it. However in my research I found no reference to this. I did find that he is known as the remover of obstacles, god of wisdom and god of prudence. He lost his tusk in a fight while restraining parasurama, the sixth incarnation of Vishnu, from waking his father, Shiva. As Parasurama was about to hurl an axe at him, Ganesh recognized that his father had given the axe to Parasurama. Out of reverence for his father he took the axe's blow on one of his tusks. Molly also says that he holds a bag of candy in one hand. I could find no reference to this but he is known to hold a water lily which it appears to be. (Indian Mythology, Veronica Ions, p.102) I would like to ask Mr. Fredericks about the figure of Shiva to verify that it is he. Sources for this information are photocopied in the Eastern Civilization object file." From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 18, 1991: "RE: Eastern Civilization I am still not sure who the large figure on the right is. As my memos to the file indicate, on August 22 I was fairly confident it was Shiva. I concluded this after dong a fair amount of research. On September 11 I asked Mr. Fredericks who the figure was. He said it was the Buddha. I did some research on Buddha and learned that some of the physical characteristics match - the third eye and the jewelry. However I cold find no representations of him with four arms. Also puzzling is the fact that Mr. Fredericks identified Ganesh, the elephant-headed god. Ganesh is from the Hindu religion and Buddha is from Buddhism. The are both common in India but they are both very different. It is possible that he used figures from different religions as a representation of Eastern Civilization. However I am still not sure who this figure is since the physical characteristics don't match exactly. It is possible that Mr. Fredericks intended it to be Buddha. It is also possible that he did not originally intend it to be a specific figure but later called it Buddha. In any case it may be best not to give this figure a name." From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 11, 1991: "RE: Eastern Civilization I asked Mr. Fredericks about the figures in this sculpture. He identified Ganesh, the elephant-headed god. He said the large figure on the right was a buddha figure. I mentioned Shiva and Rama but he said no. He said he included the monkey because they are so common in India." Symbolism: Buddha in a reclining position: Marshall referred to him as Buddha but several attributes of Asian Deities such as Shiva, Krsna, Vishnu and Budhha are depicted including the 4 arms of Shiva and Lakshmi. (Excerpt from 1000 Symbols, p. 130) "Buddha was born in the 6th century BCE as Prince Siddhartha, a member of the Gautama clan of the Sakya tribe on the border between Nepal and the modern Indian state of Bihar. The title of Buddha, meaning 'Wise' or 'Enlightened One', was bestowed on him after his enlightenment. This he achieved at the age of 39, after seven weeks of meditation under a Bodhi Tree in the village of Bodhgaya. He abandoned his wife and child for the ascetic life. For the next 41 years until his death at the age of 80, he preached his philosophy, repudiating some aspects of Hinduism-such as ritual worship and sacrifice-and denouncing the caste system. In its place, he offered a moral code of conduct that mentions neither heaven nor hell, nor any religious sanction, but relies on the self-discipline and autonomous spirit of the individual to guide him or her towards salvation. He taught that to live is to suffer, and the wheel of birth and rebirth will continue to turn unless humans can contain their desires, and so release them from this process. To achieve this, people should follow the Eightfold Path of Buddhism, which leads to wisdom, calmness, knowledge, enlightenment and release." (Excerpt, from 1000 Symbols, p. 126) Shiva: 'the Destroyer', represents darkness and is the angry god. He is one of the three gods of the Hindu Trinity or Trimurti, and is seen as a pre-Vedic god allied to the lord of beings on Indus Valley seals. He is depicted above holding two of his attributes: a thunderbolt and stylized conch shell and has 4 arms. Ganesh: son of Shiva; god of fortune and wisdom who intercedes with other gods; he's normally depicted as a pot-bellied figure with an elephants head, 4 arms and one tusk. He sits on a rat signifying shrewdness. He received his elephant's head when he lost his own and was brought back to life using the nearest available head, that of an elephant. He's god of new ventures and good luck. Story about Ganesh's broken tusk as told by Vaibhavi Sindha, an SVSU student. "Why Lord Ganesh has a broken tusk? Lord Ganesh loved to eat food. One day as he sat down to eat, the moon (Lord Chandra) was watching him. Ganesh kept on eating and his stomach enlarged. At a certain point, his stomach burst open and all the food spilled out. Looking at this, the moon laughed at Ganesh and made fun of him, so Ganesh got mad and broke one of his tusks and threw it at the moon. That's the reason why the moon is half on that specific day called Ganesh-chatwithi Day." Water Buffalo: Nandi, the white bull; Chinese Buddhism: the ox signifies wise thought. Dancing woman: Devi, Shiva's wife or Sita, wife of Rama. Rama: squatting ape. The ape Hunuman helped to rescue Rama's wife from a powerful king in Celon. Ramas right elbow rests in the curve of his waist while his hands are palms out and engaged fingers extended point to a small dancing female figure possibly Sita, his wife. Molly Barth copy: The next plaster model is titled "The Eastern Civilization," It's from "The Fountain of Eternal Life," "The Cleveland War Memorial." This is just one of four carvings that were done for the "Fountain of Eternal Life," each one weighing 10 tons, they were done in Norwegian, emerald, pearl granite, it's the same granite that's used outside in the Sculpture Garden, for the fountain pieces, it's beautiful when the sun hits it, the granite just comes alive. Here in the "Eastern Civilization ," you have the reclining Buddha and Ganesh, the elephant that's half human. He has a broken tusk, and, of course, he did that when he was working, so he's a symbol of good luck, and he holds a bag of candy and beads in each hand, and on the end, you have the sacred cow, and his body starts to form the back of the carving, of the plaster model. 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 Eastern Civilization [Plaster] Subject The topic of the resource Buddha and Buddhism Hindu art--History Description An account of the resource Eastern Civilization, from Fountain of Eternal Life: Peace Arising from the Flames of War, 1964 Plaster, 1987 Gift of Mr. and Mrs. Marshall M. Fredericks 1991.009 This full-scale model of one auxiliary sculpture for the Fountain of Eternal Life in Cleveland, Ohio characterizes the Eastern Civilization. Other models of the entire fountain and plaza are near the central windows in the Main Exhibit Gallery. In Eastern Civilization, Fredericks portrays Eastern culture with a god who Fredericks has identified as Buddha. Leaning over his shoulder is the monkey god- Hanuman who symbolizes loyalty, courage, devotion, strength, and speed. He is greatly idealized in Hindu literature. In the center of the sculpture is the elephant-headed god Ganesha or Ganesha. One of the most popular Hindu deities, he is identified as a god of good fortune and wisdom who intercedes with other gods. To his left are two figures kneeling in prayer to the god. The left end of the sculpture is formed by the head and neck of a bull which is a sacred animal in India and it is a symbol of fertility and plenty. Fredericks gained much knowledge and appreciation of Indian culture when he was stationed in India for military service during World War II. 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 1955 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/6349855375/in/set-72157628015891879"><strong>Cleveland War Memorial, Cleveland, OH</strong></a> Animal Animal Sculpture Cleveland War Memorial: Fountain of Eternal Life Eastern Civilization Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka.svsu.edu/files/original/1991008_8bf63e1986.jpg f4eedf6d46065d8e4193dc821781313b 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 470 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. 72" x 48" x 58" Materials Plaster quarter-scale Metal Catalog Number 1991.008 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes -MMF, from a manuscript in artist's papers, MF archives: "The theme was selected to represent this age of great interest, exploration and discovery in outer space. The complete concept is intended to symbolize the vitality, order and mystery of the universe. The monumental central figure suggests a superhuman mythological being. He is seated upon a ten-foot sphere, encrusted with a multitude of stars of various magnitudes set in a pattern of the principal constellations of the celestial system. In his hands he holds two planets, which he is sending off into space. His hair, designed with jagged lightning-like forms, is studded with clusters of multi-pointed stars. The dynamic spiral orbit form swirling around the sphere represents the speed and perpetual movement of the heavenly bodies in space. Play of the water from numerous star-shaped sprays in a spiral pattern upon the figure, sphere, and orbit is intended to increase the feeling of movement." --1971 letter by Marshall Fredericks "There are thousands of star forms in seven magnitudes all in their proper position in accordance with the celestial pattern." Symbolism: Man: represents mankind Sitting on a globe: man conquering the world/earth Globe: planet earth Holds two orbits: sending them off into space Spiral form on Globe: planets revolve and spin due to gravitational pull How does MF give you the impression of a revolving globe when this sculpture is perfectly still? By placing this spiral form around the globe he is giving you the impression of a revolving globe. Since it does that it's considered the 4th dimension which is time. The 4th dimensions characteristics are, actual movement, implied movement, or a progression of things to indicate time, the 4th dimension. Molly Barth copy: The next piece is titled "The Man and the Expanding Universe Fountain," and this is just the quarter scale and this is located at the State Department building in Washington, DC, in the courtyard of the State Department building. It was dedicated for our first exploration into space. The figure is casting out into orbit, two planets, and then the figure that he is on has 5,000 stars, all in their correct celestial positions; all the constellations, in their relationship to each other are all laid out, and then you have the orbiting projectile going around this sphere and you really get the feel of movement. It is a fountain, even the nozzle-heads where for the water sprays are shaped in stars and the fountain has mosaic, colored tile on the bottom of the fountain, and you really do get the feeling of motion, of movement. This was dedicated in 1964. The figure and the sphere are cast in bronze, the planets that he is casting out and the orbiting projectile were cast in nickel. The figure is four-times this size. Sometimes on the national news, you have the correspondent, or the reporter, on the T.V., that is, right there in front of the flags that are there at the State department, and sometimes, between the flags, you can get a glimpse of the fountain. The Mini Page, Betty Debnam (Founding Editor and Editor at Large) Tuesday, September 30, 2008 From the Bay City Times: 50 years ago, the National Aeronautics and Space Administration, or NASA, began. Since then, NASA has changed the way we look at our world and millions of other worlds out there in space. On Oct. 4, 1957, the Soviet Union launched a satellite, Sputnik, into space. This was the first time people had sent an object to orbit the Earth. A month later, the Soviets launched Sputnik II. This time, they sent a dog into space aboard the satellite. The Soviet space launch took most people by surprise. At that time, many people feared the Soviet Union. Some were afraid that Sputnik showed the Soviets were more advanced than Americans in science. When the Soviets launched Sputnik I, they launched the Space Age. Few had seen that coming. From 1957 to 1958, 60 countries, including the United States and the Soviet Union, were part of a partnership to learn more about the Earth. This year-long project was called the International Geophysical Year. Most of the Earth-study projects were done on Earth. But the Soviets decided to study the Earth from space. The Americans had been working on a satellite too, but they weren't in any hurry. After the Soviets launched Sputnik, America scrambled to catch up. In January 1958 the U.S. launched it's first spacecraft, Explorer I. America had no agency to oversee its space ventures. Explorer I was launched by the U.S. Army, using knowledge gained from WW II. In March 1958, the U.S. Navy launched its own satellite, Vanguard I. It was the first solar-powered satellite. Government officials had a long debate over whether the U.S. space program should be run by the military or by civilians, or ordinary citizens. Scientists predicted peaceful benefits that people could only dram about in 1958, such as long-term weather forecasts and worldwide radio communications. The scientists convinced the government to make NASA a civilian agency. Almost a year to the day after the first Sputnik was launched, on Oct. 1, 1958, the United States created NASA. NASA took over several other agencies, including NACA (National Advisory Committee for Aeronautics). NACA'a job had been to study airplane flight. NASA also took over Army and Navy missile and flight labs. In April 1961 the Soviet Union sent the first person into space, Yuri Gagarin. Within a month, President John F. Kennedy had promised to send Americans to the moon. On July 20, 1969, Neil Armstrong became the first human to walk on another world. Buzz Aldrin was the second. As he stepped onto the moon's surface, Armstrong said, "That's one small step for man, one giant leap for mankind." Only 12 men have walked on the moon. The Apollo moon program ended in 1972. Today, NASA is making plans to return to the moon and set up a base station there. NASA has launched many probes to study the objects in our solar system. The two Voyager spacecraft, launched in 1977, changed the way we look at our solar system. The Voyagers were designed to last for 5 years. Today, 30 years later, they are still sending back data. Voyager 2 has actually left the solar system. It is the first time a human-made object has left our system. Voyager 1 will reach the edge of our solar system in another 10-20 years. The Voyagers could keep traveling forever. The Hubble Space Telescope and other space observatories have given the world a better view of our place in the universe. For example, because of Hubble, we now know the universe is about 13.7 billion years old. Some of the most exciting probes have been the rovers that NASA has sent to Mars. Because the rovers are searching for signs of life, they attract a lot of interest. 16 countries, including America, Russia, Canada, Japan, and many European nations are working together on the Internationsl Space Station. NASA works to make air flight safer and faster. It is working toward the development of advanced aircraft. NASA's research has led to benefits such as cell phones and health aids such as heart pacemakers. Satellites send data about changes in our environment. Weather forecasting of hurricanes comes from NASA satellite technology. 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 The Expanding Universe [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource The Expanding Universe, 1964 (Man and the Expanding Universe) Quarter scale model Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.008 This is the quarter-scale model for The Expanding Universe (Man and the Expanding Universe Fountain) located in the South Court of the United States State Department Building in Washington, D.C. The fountain was erected to celebrate the nation's first exploration of outer space. The monumental central figure suggests a superhuman mythological being. He is seated upon a ten-foot sphere, encrusted with a multitude of stars of various magnitudes set in a pattern of the bright-star constellations of the celestial system. In his hands, he holds two planets that he is sending off into space. His hair, designed with jagged lightning-like forms, is studded with clusters of multi-pointed stars. The dynamic spiral orbit-form swirling around the sphere represents the speed and perpetual movement of the heavenly bodies in space. Play of the water in a spiral pattern from numerous star-shaped sprays is intended to increase the feeling of movement upon the figure, sphere, and orbit. The basin of the fountain is lined with colored glass mosaic tiles. The central figure and sphere are cast in bronze while the orbit, planets, water spouts, and the stars in the hair and on the surface of the sphere are of nickel alloy. According to Fredericks, the sculpture "represents this age of great interest, exploration and discovery in outer space...[and] the immensity, order and mystery of the universe." 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 1964 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/6350483733/in/set-72157628015891879"><strong>Man and Expanding Universe, Washington, D.C.</strong></a> Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model The Expanding Universe Fountain https://omeka.svsu.edu/files/original/1991007_0b4b5cd57c.jpg e2de0f37be103ee8c36261035575e7c7 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 884 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. 56" x 48" x 60" Materials Plaster full-scale Catalog Number 1991.007 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1988 January, 24 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 25, 1991 "RE: Wings of the Morning Molly told me that in 1970 a two-foot version was placed at the Birmingham First Presbyterian Church." From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated October 23, 1991 "RE: In 1970 there were two-foot versions placed at the First Presbyterian Church in Birmingham and the First Presbyterian Church in Kalamazoo. Mr. Fredericks also told me that in the past someone had mistakenly said the figure in the composition is an angel. He said it was a person. The verse from Psalms says "If "I" take the wings of the morning..." Symbolism: Right hand: appears in phrase and means active divine power; in Christianity it is used to represent the blessing and intervention of God so as to avoid depicting him directly. Angel with wings: spiritual intermediaries or intelligences between God and humanity. Cherubim: (ones who pray) described as winged beings and usually a combination of four but sometimes 2 creatures (in this case swans). Male figure: The psalm is of David, director of music. Angels are common in Judaism, Christianity, and Islam. Two White Swans: represents discernment; sacred to the ancient Roman god Apollo and Celtic goddess Briged, both associated with music, poetry, and divination; symbol of happy death because it senses its demise and sings to welcome it; known for fidelity and faithful love-it takes one partner for life; symbol of the soul, eternity, and resurrection. Molly Barth copy: The next piece is titled "The Wings of the Morning." This is located at Kirk in the Hills Presbyterian Church in Bloomfield Hills, Michigan. It's a magnificent church, and this is located back behind the church in the columbarium. The title comes from Psalms, 139, "If I take the wings of the morning and dwell in the uttermost parts of the sea, even there your hand shall lead me and thy right hand shall hold me." Of course, you've got God's hand, the Angel and the two swans. As you go along through the Gallery, you will notice that Mr. Fredericks uses the swan in so many of his pieces; really, beginning in ancient times, the swan has been a symbol of eternal life. The figures were cast in bronze, and they're on a granite pedestal there at Kirk in the Hills, and also here in the Sculpture Garden, those were also donated to the Gallery. This piece was dedicated in 1986, there at Kirk in the Hills. From Archives, written by Melissa Ford: Marshall Fredericks frequently used the figure of a swan in his sculptures. Many cultures feature swans in their mythology and folklore. Swans have come to symbolize fidelity and purity and are associated with music, poetry and divination. Fredericks often employed the swan as a symbol of resurrection and eternal life in his sculptures. Wings of the Morning, Freedom of the Human Spirit, and Indian and Wilds Swans as well as several other works feature swans. It seems that Fredericks' possessed a deep love and appreciation for these beautiful and graceful creatures. Besides sculpting swans, Fredericks played an integral role in a swan nesting project during the 1960s. As a civic gesture to his hometown of Birmingham, Michigan, Fredericks presented two pairs of swans to the city. The Australian Black and White Mute swans made their home in Quarton Lake located in the heart of the city. Unfortunately, several of the birds did not fare well in their new surroundings had to be replaced by the city of Birmingham. During the 1970s, in order to protect the swans and encourage nesting, the parks department constructed a bird sanctuary in the middle of the lake. This tiny floating island, constructed of several government surplus "life rafts", was approximately thirty-five feet in diameter and covered in a vegetative screen of wild grasses and rushes. Each winter, the swans would be removed from the lake and provided with shelter by the parks department until spring when they would return to the water. The swans would then spend the rest of spring, summer and early fall on Quarton Lake being enjoyed by passing residents and visitors. As Fredericks' home in Birmingham overlooked Quarton Lake, it is quite plausible that one of these birds served as a real life inspiration for the swans often found in Marshall Fredericks' work. 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 Wings of the Morning [Plaster] Subject The topic of the resource Animal sculpture--20th century Figure sculpture, American--20th century Description An account of the resource Wings of the Morning, 1969 1987 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.007 With the Leaping Gazelle of 1936, this sculpture brackets a half-century of creativity. The hand, symbolic of God, gives support or perhaps transport to the individual who is accompanied by two flying swans. The upward flowing contours communicate the optimistic spiritual content, or meaning of the sculpture. Fredericks was inspired by Psalm 139, verses 9-10; "If I take the wings of the morning, and dwell in the uttermost parts of the sea; even there shall Thy hand lead me, and Thy right hand shall hold me." These verses are inscribed on the pedestal of the cast in the Sculpture Garden, as well as the pedestal of the bronze cast in the columbarium of Kirk in the Hills Presbyterian Church, Bloomfield Hills, Michigan. According to one of Fredericks' assistants, Molly Barth, he uses the swan to symbolize eternal life; a Nordic symbol of spirit. Swans can be seen in other sculptures in the Main Exhibit Gallery. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 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/6350817821/in/set-72157628015891879"><strong>Wings of the Morning, Meijer Gardens, Grand Rapids, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6351562068/in/set-72157628015891879"><strong>Wings of the Morning, First Presbyterian, Kalamazoo, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350817489/in/set-72157628015891879"><strong>Wings of the Morning, First Presbyterian, Birmingham, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350817443/in/set-72157628015891879"><strong>Wings of the Morning Brookgreen Gardens, SC</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350234967/in/set-72157628015891879"><strong>Wings of the Morning, Kirk in the Hills, Bloomfield Hills, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/5908373057/in/set-72157604118554937"><strong>Wings of the Morning, Marshall M. Fredericks Sculpture Museum, University Center, MI</strong></a> Format The file format, physical medium, or dimensions of the resource <a href="https://www.flickr.com/photos/marshallfredericks/5908373057/in/set-72157604118554937"><strong> </strong></a> Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Wings of the Morning https://omeka.svsu.edu/files/original/1991006_943b62706a.jpg c997620c41697df7634f860187464db7 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 698 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. 79" x 42" x 78" Materials Plaster Catalog Number 1991.006 Object Location Location of object in collection. Main Exhibit Gallery Provenance 11/19/1987 gifted to MFSM Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated July 30, 1991 "RE: Boy and Bear On July 26, 1991 Molly told me there is a small scale Boy and Bear bronze located inside the Grosse Pointe library." August 7, 1991 FROM: Jennifer Lentz, Intern Marshall M. Fredericks Sculpture Gallery RE: Boy and Bear at Grosse Pointe Central Library There is a small "Boy and Bear" located in their children's room. It is on book marks sold there and it has become the logo for the Friends of the Grosse Pointe Public Library. It was donated in memory of Helen Hines Thomas by her friends from the Detroit Industrial school. In the library's vertical file is one small article about the sculpture. We do not know the date of this object at this time. Facts: -relates to Rudyard Kipling's Novel The Jungle Book published in 1894. An illustration in an original Kipling book looks very much like Marshall's sculpture. -claimed it relates to a Norwegian novel his grandmother told him. -Fredericks said that this had no relation to Kipling's Jungle Book movie by Disney as it was modeled before the Disney movie was made (1954). National Archives Interview with Marshall Fredericks: "Well, as you know, the first shopping mall was Victor's Gruen's Northland; that was the first one in the world, I guess. He and his staff were very art conscious and they thought that sculpture would really enhance the architecture and they were right because it made architecture more personal and related to people better. People don't like to go shopping in just a cement building, you know; they really don't. If it has something that appeals to their eye and is more friendly and warm and maybe has a little fun connected with it I think they enjoy it more. That was the reason I did The Bear and the Boy there; that was the first piece ever done for a shopping center. I wanted to reach people who would come there to shop and the people who come there to shop basically are people, mothers and fathers, especially mothers with their children and I think over the years it's attracted an awful lot of children and that attracts mothers, as mothers buy dresses, you know. So it worked. The same with the Lion and The Mouse." Molly Barth copy: The next plaster model is titled, "The Boy and the Bear." J. L. Hudson commissioned Mr. Fredericks to do this piece also. The bear is carved in limestone and the boy is cast in bronze and then gold-plated. This is located at Northland shopping Center, in Southfield, MIchigan. Northland was the first mall, as we know malls today in the nation. It was originally outside, but as the mall grew, it is now was located inside, just outside one of the entrances to Hudsons. This took Mr. Fredericks start-to-finish three years, and it was dedicated in 1954. As I mentioned, the one that's at Northland, the bear is carved in limestone, and here in the plaster model, you can see it; we think of stone as being cold and hard, Mr. Fredericks really goes against nature, and he has created this bear, and when you look at him, you think of really as being very friendly, very huggable. You get the feeling that if you squeezed one of his ears, which you can't here with the plaster model, but if you were able to, that it would be very soft, it's amazing what Mr. Fredericks can create out of nature, and just create this bear that looks so soft. We also have "The Boy and Bear," that's cast in bronze, that was donated, and it's outside in the Sculpture Garden. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: Fredericks said, "Well, the Boy and the Bear was made for a shopping center. I made it 40 years ago. I put the Boy and Bear up. This sculpture student was upset because she didn't think it looked like a grizzly bear. 'It should have a nose like this and eyes like this.' So I said, 'I know exactly what a bear looks like. But I don't want to show that aspect of a bear.' I wanted to show the bear as a cuddly, friendly and lovable kind of bear. I said, 'It's not a real bear, it's a play bear.'" 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 The Boy and Bear [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource The Boy and Bear, 1954 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.006 Fredericks was one of six artists commissioned by the J.L. Hudson Company to design sculpture for Northland Center in Southfield, Michigan. At the time it opened in 1954, Northland was the country's largest shopping center as well as the first regional shopping center. In a 1981 National Archives Interview, Fredericks states: "Well, as you know, the first shopping mall was Victor's Gruen's Northland; that was the first one in the world, I guess. He and his staff were very art conscious and they thought that sculpture would really enhance the architecture and they were right because it made architecture more personal and related to people better. People don't like to go shopping in just a cement building, you know; they really don't. If it has something that appeals to their eye and is more friendly and warm and maybe has a little fun connected with it I think they enjoy it more. That was the reason I did The Bear and the Boy there; that was the first piece ever done for a shopping center. I wanted to reach people who would come there to shop and the people who come there to shop basically are people, mothers and fathers, especially mothers with their children and I think over the years it's attracted an awful of children and that attracts mothers, as mothers buy dresses, you know. So it worked. The same with the Lion and the Mouse." Despite similarities between this sculpture and the characters in Walt Disney's movie The Jungle Book, Fredericks' disavows any influence from Walt Disney or Rudyard Kipling, the author of The Jungle Book which was originally published in 1894. Fredericks has said that he simply wanted to make a sculpture of a boy and bear because it would be fun. A bronze of this scale can be found in the Sculpture Garden. The Northland sculpture was carved in limestone and the boy is cast in bronze and is gold-plated. 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 1954 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum 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/5908372449/in/set-72157604118554937"><strong>Boy and Bear, Marshall M. Fredericks Sculpture Museum, University Center, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350659276/in/set-72157628015891879"><strong>Boy and Bear Northland Center, Southfield, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350653376/in/set-72157628015891879"><strong>Boy and Bear, Meijer Gardens, Grand Rapids, MI</strong></a> Animal Animal Sculpture Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model The Boy and Bear https://omeka.svsu.edu/files/original/1991005_6073c6a143.jpg c9da539ee73ec4b0fe0e107a377687eb 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 287 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. 60" x 25" x 17" Materials Plaster Full-scale Catalog Number 1991.005 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 July 1, Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 11, 1991: "RE: Mother and Child - Two Sisters On the list that Mrs. Fredericks created titled: Principal Works of Marshall M. Fredericks, it lists several different Mother and Childs as well as Two Sisters. I asked Mr. Fredericks if these are different sculptures or just variations with different names. He said the first one listed as Mother and Child, 1930, plaster 12" high, destroyed, no longer exists. They showed me a photograph of it. The mother figure has both arms raised to the sides and she is wearing some sort of loose garment like a cape. The next one listed Mother and Child, 1931, porcelain, 12" high, destroyed, no longer exists either. They showed me a photo of it also. The mother is seated and leans backward and the child reclines in her lap. I asked him about the name of our maquette and the full-size plaster. He said he originally named the maquette Mother and Child. The name Two Sisters was not used until 1965 when Robert Grindley comissioned it as a memorial for his wife to be placed at Kingswood in a fountain. His two daughters attended Kingswood School. Mr. Fredericks said we should title it Mother and Child also called Two Sisters. (However the bronze cast in the MFSG Garden is labeled Two Sisters.) The earliest date we have for the composition that survives today is from 1937 for a gilt bronze on at Cranbrook. There is also one from at least May 1939 when it was pictured in Pencil Points magazine in an alternate design for a fountain basin. In these two early versions as well as our maquette dated to 1942 the younger figure has the cap-like hair style. Not until 1965 does she appear with braids. 1937 is also the date for Eve which is listed as being a study for Two Sisters/Mother and Child on the list of works. 1965 is the first time the name Two Sisters was used." From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 5, 1991 (Excerpt) "RE: Works at Cranbrook Academy of Art Museum: Two Sisters/Mother and Child Childhood Friends Torso of a Dancer Persephone (Bacchante) Today I met with David Rau at the Cranbrook Academy of Art Museum. He showed me two works by Fredericks in storage. One was labeled Two Sisters and dated 1938-39. Our records from Cranbrook (?) indicate this piece is from 1937 and it is titled Mother and Child. It is about two feet high (I did not measure it) and is fire gilt bronze. The figures are similar to the figures in the maquette in Pencil Points magazine from May 1939. The younger child has the cap-like hair style. I will have to compare them to tell if the figures are exactly the same. In any case these figures are closer to the figures in our maquette than to the figures in the actual fountain and to the full-scale plaster of the two figures in the gallery." MF, Sculptor copy: In 1940-42 Fredericks executed one of the most graceful and winning of his early works, the Two Sisters fountain, which was cast and erected, after the interruption of World War II, in 1964 in a courtyard of Kingswood School for Girls at Cranbrook. The evolution of his style gave to these human figures also the clarity of silhouette, the clean, firm forms, and the stylized detail required for a piece in sunlight. Molly Barth copy: The next piece is entitled "Mother and Child" or "The Sisters." This is the plaster model that was used for the bronze casting that's at Kingswood, the girl's school at Cranbrook, in Bloomfield Hills, Michigan. We also have a bronze casting that was donated to Saginaw and is outside in the Sculpture Garden. Mr. Fredericks originally did this in 1941, and he hoped that this would be at Cranbrook, and World War II broke out, and that kind of put everything on hold. He came back, but it still did not materialize, then a gentleman came into his studio, and saw this, and he was looking for a memorial for his wife, and it just so happened that his two daughters had gone to Kingswood, so he thought this would be just the perfect piece, so it was dedicated in 1965, and it's there in the courtyard there at Cranbrook, at Kingswood. 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 Two Sisters (Mother and Child) [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Two Sisters (Mother and Child), 1942 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.005 This is the full-scale model for the figures in the Two Sisters Fountain, located in a courtyard of Kingswood School, Cranbrook Educational Community, Bloomfield Hills, Michigan. A smaller, maquette of this sculpture is also on display in the Main Exhibit Gallery. Fredericks enlarged the maquette to life size and cast this full-scale plaster original before leaving Cranbrook for military service in 1942. The figures were not cast in bronze until 1965 when Robert Grindley decided that the composition would be an appropriate memorial for his wife. His two daughters attended Kingswood School, thus the fountain was named TWO SISTERS. 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 1942 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/5908931318/in/set-72157604118554937"><strong>Two Sisters, Sculpture Garden, Marshall M. Fredericks Sculpture Museum, University Center, MI</strong></a> Animal Animal Sculpture Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Two Sisters (Mother and Child)