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October 9th, 1830 AD (search for this): chapter 23
es in regard to several of the alleged facts. The notice of Tuckerman, in his book of American artist life, is quite too meagre to be just and valuable. Mrs. Child, who was a family friend, and at one time nearest neighbor of Dr. Hosmer, and who wrote in his house, furnished a very pleasing and reliable sketch. Great care has been taken to preserve in these pages everything which is valuable, and to exclude whatever is not authentic. Harriet G. Hosmer was born in Watertown, Mass., October 9, 1830. Undoubtedly she was endowed with rare genius by nature; and the incidents of her early life evidently conduced much to its development in her chosen pursuit, and to the bold and unique traits of character for which she if distinguished. Her father was an eminent physician, whose wife and elder daughter died of consumption while she was yet a child,leaving her the only domestic solace of his afflictions, and hope of his heart: She inherited a delicate constitution, and, as if he saw
June 22nd, 1860 AD (search for this): chapter 23
uld she depart from this sphere of art, and with equal skill set forth the strong, rugged, massive qualities of the famous statesman, and thus create for herself a reputation which need not bow before any difficulties, nor shrink from an enterprise requiring the most masculine capacity? The commissioners to the fullest extent trusted in the breadth and power of her genius. We append her reply to their communication, because it was so pertinent and characteristic of herself: Watertown, June 22, 1860. Gentlemen :---I have had the honor to receive your letter of the 15th inst., informing me that the execution of the bronze statue, in memory of the late Col. Benton, for the city of St. Louis, is entrusted to me. Such a tribute to his merit would demand the best acknowledgment of any artist; but in the present instance my most cordial thanks will but insufficiently convey to you a sense of the obligation under which I feel you have placed me. I have reason to be grateful to you f
15th (search for this): chapter 23
rugged, massive qualities of the famous statesman, and thus create for herself a reputation which need not bow before any difficulties, nor shrink from an enterprise requiring the most masculine capacity? The commissioners to the fullest extent trusted in the breadth and power of her genius. We append her reply to their communication, because it was so pertinent and characteristic of herself: Watertown, June 22, 1860. Gentlemen :---I have had the honor to receive your letter of the 15th inst., informing me that the execution of the bronze statue, in memory of the late Col. Benton, for the city of St. Louis, is entrusted to me. Such a tribute to his merit would demand the best acknowledgment of any artist; but in the present instance my most cordial thanks will but insufficiently convey to you a sense of the obligation under which I feel you have placed me. I have reason to be grateful to you for this distinction, because I am a young artist; and, though I may have given some
1852 AD (search for this): chapter 23
called facetiously her shop. There she wrought out various contrivances of mechanical ingenuity, and produced her first work in marble,--a reduced copy of Canova's bust of Napoleon, for her father. The labor was performed by her own hands, that she might be practically familiar with every part of the process. The likeness and workmanship are both good. Soon afterwards she commenced Hesper,--her first original and ideal work. Mrs. Child, who saw it in the garden studio in the summer of 1852, by Dr. Hosmer's invitation, gives the following account of its execution and description, which were published in the New York Tribune, under the caption, A New star in the Arts: -- She did every stroke of the work with her own small hands, except knocking off the corners of the block of marble. She employed a man to do that; but as he was unused to work for sculptors, she did not venture to have him approach within several inches of the surface she intended to cut. Slight girl as she
1853 AD (search for this): chapter 23
nd of St. Louis, W. Crow. It was speedily followed by the Medusa, represented as she was before she was transformed into a gorgon. The hair, retreating in waves from the forehead, changes into serpents. It is described as a lovely thing, faultless in form, and intense in its expression of horror and agony, without trenching on the physically painful. It is owned by Mrs. Appleton, of Boston. These busts, wrote Mr. Gibson, do her great honor. They were publicly exhibited in Boston in 1853. The next year Mr. Gibson wrote to Dr. Hosmer, to give him assurance of his daughter's unabated industry and success in her profession, relating also the favorable judgment of the Prussian Ranch, then very aged and one of the greatest of living sculptors. In the summer of 1855 Miss Hosmer completed Oenone, her first full-length figure in marble. Oenone was a nymph of mount Ida, who became the wife of Paris, the beautiful shepherd, to whom Venus had promised the fairest woman in the world
1855 AD (search for this): chapter 23
ote to Dr. Hosmer, to give him assurance of his daughter's unabated industry and success in her profession, relating also the favorable judgment of the Prussian Ranch, then very aged and one of the greatest of living sculptors. In the summer of 1855 Miss Hosmer completed Oenone, her first full-length figure in marble. Oenone was a nymph of mount Ida, who became the wife of Paris, the beautiful shepherd, to whom Venus had promised the fairest woman in the world. The statue represents her as ummer was passed at Sorrento, on the bay of Naples. The next year her zeal prevailed against all considerations of prudence; she would not leave the shadow of St. Peter's and the art treasures in the midst of which she wrought. The third summer, 1855, came, and she prepared for a journey to England. But the course of true art, like that of love, does not always run smoothly. The resources of Dr. Hosmer were not inexhaustible; the expenses of the artist's residence and pursuits in Rome were l
1857 AD (search for this): chapter 23
ghter, a lovely girl of sixteen years, had recently died. Being a Catholic, she was permitted to erect a mortuary monument in the church of San Andrea del Fratte. The design was entrusted to Miss Hosmer. It was modelled in clay in the winter of 1857, and executed in marble a year later. It is a portrait statue of the daughter, the figure of a beautiful maiden, resting upon a sarcophagus, in the sleep that has no waking. In this production the still repose of death is finely contrasted with on which the fair boy stands, while the nymphs reach up their hands to draw him into the waters at his feet. The conception is classically just and highly poetical. Before the two works last described were executed in marble, in the summer of 1857, Miss Hosmer returned to America,--five years from her departure. She had become a daughter of fame, but was still a child of nature. Her vivacity remained; she was modest and unpretentious in her enthusiasm; and her aspirations were kindled for
November 12th, 1852 AD (search for this): chapter 23
to equal her energy and enthusiasm, should accompany her there, and leave her, returning himself to his profession. She rode on horseback to Wayland to bid farewell to her friend, Mrs. Child, and said, in reply to the questions, Shall you never be homesick for your museum parlor in Watertown? Can you be contented in a foreign land? I can be happy anywhere with good health and a bit of marble. Lingering only a week in England, in her eager haste, she arrived at the Eternal City November 12, 1852. John Gibson, the most renowned of English sculptors of this century, was then in the zenith of his fame. It was the young artist's strong desire to become his pupil,--a desire clouded with much apprehension, because it had been intimated that want of persistency in overcoming difficulties on the part of ladies had brought disappointment upon instructors; and the success of her application was extremely doubtful. But two days after the arrival a friendly sculptor laid before him, as
1867 AD (search for this): chapter 23
artist was ten thousand dollars; the entire expense of the monument about thirty thousand dollars. In the Dublin Exhibition of 1865, Miss Hosmer offered to the public the Sleeping Faun, in marble of life size, which was sold on the day it was opened for five thousand dollars. Sir Charles Eastlake said, If it had been discovered among the ruins of Rome or Pompeii, it would have been pronounced one of the best of Grecian statues. It was exhibited again in the Universal Exposition of Paris, 1867, where, with the great paintings of Church, Bierstadt, Huntington, and others, it gave to tie most aesthetic nations new apprehensions of the progress and honors of American art. Among the many pieces of marble statuary of modern artists, says the United States Commissioner, E. C. Cowdin, Esq., none was more admired than the Sleeping Faun, a figure of antique grace finely conceived and admirably executed. The Waking Faun, a companion piece, at a recent date was only clay. It is owned, wi
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