183 10 1886 https://omeka2.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://omeka2.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://omeka2.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://omeka2.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://omeka2.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://omeka2.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://omeka2.svsu.edu/files/original/1991060_9380e4321a.jpg 262090cdf8b1db22787d32ce46e631af 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 639 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. 30" x 30" Materials Plaster 1/4 scale Catalog Number 1991.060 Object Location Location of object in collection. Sculptor's Studio Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control 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 Friendly Frog [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Friendly Frog, 1970 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.048 Fredericks designed this large, friendly, appealing sculpture as a children's slide. The original cast of this sculpture was located at the Hudson wing of the Genesee Valley Shopping Center in Flint, Michigan for 16 years where children did use it as a slide. In 1986 the mall donated it to the Flint Children's Museum and when they moved to their new quarters (1602 W. Third) in 1993, the building's floor was not strong enough to support the frog's 6,600 pound concrete and terrazzo weight. So, for 11 years the frog was stored at C & S Motors on Dort Highway, a trucking company whose owner served on the Flint Children's Museum Board. In 2004, newspaper articles in the Flint Journal Press ("Lonely Frog: Artist would croak if he could see 'Friendly' sculpture now") and letters to the editor prompted the relocation of the frog from the trucking company's storage area to Applewood Estates, the Charles Stewart and Ruth Rawlings Mott Estate. The Ruth Mott Foundation purchased the sculpture from the Flint Children's Museum in 2004, and now it resides permanently on the 30-acre estate that is open to the public several days each year for special events and festivals. 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 1970 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/6350300525/in/set-72157628015891879" target="_blank">Friendly Frog, Applewood Estates, Flint, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350301239/in/set-72157628015891879" target="_blank">Friendly Frog, Meijer Gardens, Grand Rapids, MI</a> Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief The Friendly Frog https://omeka2.svsu.edu/files/original/1991059_c91a7966c8.jpg 648a600e428874714c4e0f0f322f1464 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 369 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. 20" h Materials Nickel plated bronze Catalog Number 1991.059 Object Location Location of object in collection. Main Exhibit Gallery Provenance 11/14/2007 gifted to MFSM Notes Mr. Fredericks originally gave the gallery a different silver plated bronze Don Quixote, but it developed serious spotting and discoloration after a couple of years in the display case. He then swapped the disfigured cast for this one. From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 9, 1992: "RE: Don Quixote I asked Molly to ask Mr. Fredericks about the date of the small and large Don Quixote. She said he made the small one first in 1937 and then a year later he made the larger version." 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 Don Quixote [Bronze] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Don Quixote, 1937 Bronze, cast 1988 Gift of Mr. and Mrs. Marshall M. Fredericks 1991.059 Cervantes' Don Quixote de la Mancha is a masterpiece of world literature. It is as well known and loved today as when it was first issued in 1605. Cervantes glorified Knight Errantry with his parody of the romances of chivalry. Don Quixote and his faithful squire Sancho Panza roamed the Spanish countryside in search of adventures. Fredericks' sculpture relays the whimsical quality of Don Quixote in his expression, posture, and in the method he is modeled. The form is highly stylized and hard-edged. The surface is smooth and there are few details. The Main Exhibit Gallery displays two versions; this one in bronze and another in nickel-plated bronze. Another bronze can also be found in the Sculpture Garden. 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 1988 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/14174106459/in/set-72157604118554937" target="_blank">Don Quixote, SVSU Sculpture Garden</a> Bronze Bronze Sculpture Don Quixote Figure Figure sculpture Sculpture https://omeka2.svsu.edu/files/original/1991058_6747f8b140.jpg 2cd618a3327ef1899a3f3b337400ed3f 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 285 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. 30.5" x 9.5" x 6.25" Base is 6" x 6" x 4.5" Materials Bronze Catalog Number 1991.058 Object Location Location of object in collection. Directors office Provenance 11/14/2007 gifted to MFSM Notes MF, Sculptor copy: His last monumental work, Lord Byron, designed in 1938, enlarged by the artist, and cast posthumously in 1998 for the Marshall M. Fredericks Sculpture Museum, paradoxically seems to refer back to Fredericks's earliest influences. This literary figure, clearly inspired by Rodin's Balzac, strikes a shamelessly dramatic pose: head flung back with his hand on his forehead, heavy cloak partially pulled around his body with the other hand flying out to the side in back. Fredericks, in contrast to the symmetry that generally characterizes his designs, treated each side of the Byron figure in a different manner. Along its right side, the figure is closed and solid. The drop of the heavy cloak does not allow for the articulation of forms or even for any suggestion of the body beneath. Rather, the artist exploits the long, unbroken line of the cloak from the figure's chin to the ground. In contrast, the figure's left side is open and plastic with elbow and knee flung out at an angle from a nipped-in waist. Like Sun Worshipper, Lord Byron represents an important mid-career design that he was only able to realize in large scale at the end of his career. The blocky solidity of the right side of Lord Byron suggests a reference to Black Elk, designed in 1980, enlarged to full scale by the artist and cast posthumously in 1998. Although the cloak completely conceals his body, the strength and dignity of Black Elk is nevertheless conveyed by the figure's mass. This use of the cloak to both conceal and reveal the body in his later sculpture adds a sense of pathos that is missing from Fredericks's early monumental works. The dynamic, unusual treatment of these figures, as well as their uncharacteristic subjects, is tangible evidence that Fredericks continued to push the parameters that had come to define his work. Molly Barth copy for case #62: The next display case shows his small bronzes. Some of them are the largest they've gotten, or some of them the small scale. [work] On the left is Two Bears. We have the full-size plaster model for this here in the gallery. One is a brown bear and the other is a black bear. Normally, they don't get along too well. The next piece is Don Quixote. We have the full-size piece in the gallery and outside in the sculpture garden. This bronze has been silver plated. The next bronze is Eve. He did that for the Mother and Child. Here she is holding the golden apple. The Detroit Institute of Arts has a cast of this one in their collection. The next one is Black Elk: The Homage to the Great Spirit. He is holding a peace pipe and stands by a buffalo. He was a very learned man and was the first Indian to describe the Indian dances and what they meant. A book called: Black Elk Speaks was written about him. In the center is Lord Byron, the poet. Notice that Lord Byron was slightly handicapped. His left leg was slightly shorter than his right, but the cape hides that fact. He died at a very young age, and Fredericks captured him as he had his hand up to his forehead as though he was thinking very hard. He wrote about the mountains and the edelweiss, and down below there is a flower of edelweiss. Also in this display case, he has the pair: The Indian and the Buffalo, and The Pioneer Woman and the Ox. These are also bronze casts. You can see how the patination, the coloring, can change on these. You can really color a bronze just about any color. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: Iorio made a note that the "refined 16 ft sculpture was meant for the poet's birthplace." Fredericks did not receive a commission to do this work and was know from time to time to wheel it out and work on it when he had some free time. It is suggested that he worked on it over 18 years and maybe longer. 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 Poet: Lord Byron [Bronze] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource LORD BYRON, 1938 Bronze, cast c. 1985 When Fredericks was a teenager his inspiration was Lord Byron, the nineteenth-century Romantic poet who became associated with a haughty, melancholy mood. Fredericks presents Lord Byron in a dramatic pose with his head thrown back and hand raised to his forehead. He seems to suffer inner turmoil suggestive of the melancholic life of the poet. Lord Byron's left leg was slightly shorter than his right and he was sensitive about his lameness. Fredericks captured this aspect of Byron's personality by posing him draped in a long cape which partially conceals his legs. Fredericks is currently enlarging LORD BYRON to about twice life-size for placement outside the Arbury Fine Arts Center. 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 1938 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/5908370735/in/set-72157604118554937" target="_blank">The Poet: Lord Byron, SVSU</a> Bronze Bronze Sculpture Figure Figure sculpture Lord Byron (The Poet) Sculpture https://omeka2.svsu.edu/files/original/1991057_fefb7ad2db.jpg a4679f6d11171f53f8b8401b34f4c5db 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 339 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. 74" x 22.75" x 23" Materials Plaster full-scale Catalog Number 1991.057 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 gifted to MFSM Notes Male Baboon made of plaster. Legs are apart with one hand rested on each knee. He has visible fangs. From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated July 26, 1991: "RE: Two large Baboon plasters: Fredericks indicated today that the two large plaster baboons in the gallery were made in the 1930's. He explained the discrepancy between the treatment of the tail in our plasters and the tails in the finished concrete casts installed at the New York World's Fair in 1939 by pointing out that he made new plaster models for the concrete casts after he had made the two plaster models in the gallery because it was practical to cast the concrete statues with the tail wrapped around the baboons rather than extending down the vertical planes of the pedestal. He recalled that the rectilinear portions of the concrete pedestal had been cast separately from the baboons themselves. At a different time Molly indicated that she had worked on construction of the tall pedestals (with integral tails) in 1985 - 86 when Fredericks was preparing the models for casting the two baboons for the Arbury's (now in MFSG Garden) and the same two baboons for his garden. I am not certain that this is the final word on the history of the large plaster baboons. I would like to hear Fredericks substantiate this story independently at some future time." July 30, 1991 TO: file FROM: Jennifer Lentz, Intern Marshall M. Fredericks Sculpture Gallery RE: Male and Female Baboons On July 26, 1991 Molly told me that the Arbury's bronze Baboons that are currently on loan to the gallery were cast in 1986. MF, Sculptor copy: The New York World's Fair Fountain Asked to do a fountain for the Glass Industries Building at the New York World's Fair of 1939, Fredericks returned to the universal appeal of animals for his subject, but he gave the fountain an ingenious reversal of the common pattern of high centerpiece and water playing to the outward rim. He designed a ring of monumental baboon figures, in cast stone, fourteen feet high with their pedestals, with a baby baboon sitting in the middle of an eight-foot glass basin, into which the jets of water play from the outer circumference. This fountain no longer exists; during the war, when the site was acquired for the war effort by the Army Corps of Engineers, it was stolen and is thought to have been dumped into the East River. Molly Barth copy: The two baboons which flank the column in the reception area are [what?] from the 1939 World's Fair in New York City. Originally, these were cast in concrete. One is a male and one is a female. On the right is the male fiercely showing his teeth. On the left is the more dainty, ladylike, female baboon. (In the display case are the small maquettes of the baboons.) The full-size baboons were 16 feet tall, and they were cast in stone, not carved. They were going to be carved in a more permanent material, but World War II broke out. They dismantled the Fair and stored the concrete Baboons. To this day, no one knows what happened to the baboons. These two plaster [what?] are the only two Fredericks has left. These are the models for the bronze casts that are at the entrance to the building. 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 Baboon, Male [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Male Baboon, 1939 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.057 This is the full-scale model of one figure for Fredericks' Baboon Fountain for the 1939 World's Fair in Flushing Meadows Park, New York. The five baboons and baby baboon were created for the Glass Industries Building at the 1939 New York World's Fair. His knees are separated widening his stance and increasing his stability. His teeth are bared suggesting aggression and his brow line is more pronounced. Fredericks has imparted him with a personality. Including the pedestals, the five baboon figures stood to a height of fourteen feet. They were cast in concrete with the intent of being carved in stone at a later date. However, World War II intervened and they were subsequently destroyed. Small-scale sketch models for the other figures of the fountain are located in a display case at the east end of the Main Exhibit Gallery. 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.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6349890763/in/set-72157628015891879" target="_blank">Baboon, Male, Detroit Zoo</a> Animal Animal Sculpture Baboon Male Baboon Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model