188 10 1886 https://omeka2.svsu.edu/files/original/1991016_f6f1e2f00f.jpg d3663dd1d08d4ce09a1541178ab642e7 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 373 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. 30.75" x 12.25" x 13.25" Materials Plaster full-scale Catalog Number 1991.016 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 July, 1 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 Otter [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Otter, auxiliary sculpture for the Leaping Gazelle Fountain, 1936 Plaster, 1987 Gift of Mr. and Mrs. Marshall M. Fredericks 1991.016 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 Sculpture Leaping Gazelle Levi L. Barbour Memorial Fountain Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka2.svsu.edu/files/original/1991015-6_7b32382586.jpg 93ce64860b528ace8def7a4b04b0d887 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 850 Width 487 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. 86.5" x 53" x 40" Materials Plaster full-scale Catalog Number 1991.015 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 November, 30 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated February 12, 1992: "RE: Leaping Gazelle at Marselisborg Castle I asked Molly if this bronze cast from 190 is accessible to the public. She said it is not. Marselisborg Castle is the summer residence of the Queen on Denmark." MF archives: -First commissioned work he was paid to do in the late 1930s -located in the formal garden west of the Conservatory. -in 1935 a national competition was held for the design of a suitable tribute to Mr. Levi Barbour, a leading citizen of Detroit. Barbour, also an attorney and philanthropist, led the fight to purchase Belle Isle for a city park. He willed $20,000 to the city "for the purpose of erecting some statue, monument, or other permanent structure on Belle Isle, as I had much to do with procuring the island for a park" Out of 26 models submitted by local and national sculptors for this contest, "Leaping Gazelle" was chosen in 1936. -winning this contest helped to launch his career as a public sculptor and made his name know as a sculptor -the gazelle is in a position called "wheeling;" that is when an animal is being pursued by a predator they stop and change direction to loose the predator -the gazelle is not native to Michigan so he made four animals that are native to Belle Island to be placed around the gazelle on Belle Isle: otter, grouse, hawk, rabbit -the inscription on the rim of the lower basin quotes Barbour: "A continual hint to my fellow citizens to devote themselves to the benefit and pleasure of the public." -This fountain is aligned with the Conservatory's central building whose circular shape is repeated in the fountain's two stepped basins. A spirited bronze gazelle, its head thrown back, leaps off a stylized rock at the fountain's apex. At the corners of the base of the pedestal are the four animals, native to Belle Isle, carved in granite. -when asked why a gazelle, Marshall claimed "a wounded or leaping antelope attempts to show the beauty in the excitement, or even death, of nature." He also stated for the Detroit News at the dedication on June 25, 1937 "to me it is the most beautiful animal in nature, particularly in that position." (Michael Panhorst) - it is placed central in the museum as it was a centrally important piece to him -a bronze of gazelle is found on Marshall's grave in Greenwood Cemetery, Birmingham, MI -it was one of four purchase prize winners of a nationwide open sculpture competition sponsored by Brookgreen Gardens in 1972. Brookgreen Gardens American Achievement Award, designed by Fredericks in 1986, utilizes the gazelle theme as does Brookgreen Gardens' membership Medal 1977-78. MF, Sculptor copy: The commission that started Fredericks on his real career came when he won a national competition for the design of a fountain to be erected on Belle Isle, a city of Detroit park on an island in the river between the United States and Canada. The central figure of the Levi L. Barbour Memorial Fountain is a leaping gazelle, in bronze on a granite pedestal, the whole sixteen feet high, rising from a basin into which jets of water fall, forming a circular screen of water. A circular wall of verdure surrounds the fountain; its four entrances or axes are marked by four small carved granite beasts and birds positioned in the falling water. The clear, strong silhouette of the gazelle, the stylized modeling of the smaller animals, and the appeal of the animal subject to visitors of every age combined to form the happy debut of a monumental sculptor. Molly Barth copy: The Leaping Gazelle in the center of the gallery is the plaster model for the Levi L. Barbour Memorial on Belle Isle in the Detroit River, between Detroit and Windsor. It was a national competition, and Fredericks went up against some very famous sculptors, Paul Manship, and others, and he won it. It started his career as a monumental sculptor. The gazelle, as he has captured it, it is elegant and beautiful, as it rears its head back. The gazelle was cast in bronze, and mounted on a granite pedestal with a fluted edge at the very top of the pedestal. Fredericks wanted to depict the animals that you would find on Belle Isle, so he added four small animals: the otter, with it's dinner it has just caught; the grouse; the rabbit with its flopped over ears and cotton tail on a cabbage, and the hawk. These were all carved in granite for Belle Isle. The sculpture was dedicated in 1936, when Fredericks was just a young man. It really started his career as a monumental sculptor. A bronze cast of the Leaping Gazelle is located on campus. It was donated. It's also a fountain. Then at Brookgreen Gardens, in South Carolina, they have the whole fountain with The Leaping Gazelle and the four animals there. There's also The Leaping Gazelle, only The Leaping Gazelle it was put up as a memorial in Norway for the Americans and the Norwegians; and also just dedicated last year, was The Leaping Gazelle, just The Leaping Gazelle, in bronze, down in Florida in the gardens in West Palm Beach. Then also, Fredericks does have a Leaping Gazelle in his back yard, in his garden. [Marseilles Borg also.] These four large sculptures surrounding The Leaping Gazelle Fountain, are not part of The Leaping Gazelle Fountain. They are The Four Animal Kingdoms. Each represents a different kingdom. You have the Bird Kingdom, with the swan, the Fish Kingdom, the Mammal Kingdom, with the seal, and then the Reptile Kingdom with the crocodile. Each one has a female figure entwined, wrapping the animal and the human figure around each other. These exist nowhere else but in the gallery, in the plaster. They were intended to be carved in stone. You can see how the shapes are contained within the contours or outline of the sculpture. One form flows into the other. Sculpture entices you to walk around them trying to see the detail in each one. Notice the way the wings of the swan wrap themselves around the perimeter of the sculpture. The fish, look for their fins, and the crocodile's tail wraps around. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: Fredericks said it is, "the epitome of art deco design." From the MFSM Archives (originally found: series VI, subseries scrapbook, 1935-39): To the Levi L. Barbour Memorial Committee This model is submitted by Marshall M. Fredericks Instructor in sculpture at Cranbrook Academy of Art This fountain, the model of which is in one-ninth scale, is to be at the widest point twenty five feet in diameter. The large scale model of the antelope is one-third size and the one of the weasel approximately actual size. The material will be polished Rosetta Black Granite from northern Minnesota with the five figures in verde antique green bronze. The central figure showing the wounded or leaping antelope attempts to show the beauty iin the excitement, or even death, of nature; while the four smaller figures of the weasel, hawk, squirrel and pheasant, all native to Belle Isla and Michigan, represent both the predatory and non-predatory, trying to show the natural beauty in both. Water will spray in fine streams from the outside edge of the smaller basin into the larger. The memorial plaque of bronze, also, with suitable inscription, will be placed on the rim of the main basin. 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 Leaping Gazelle [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Leaping Gazelle, 1936 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.015 In 1936, Fredericks won a National Award Competition to design a fountain for the Levi L. Barbour Memorial, located on Belle Isle, an island park in the city of Detroit, Michigan. The bronze Leaping Gazelle is mounted 16 feet high on a granite pedestal in a fountain basin. Four small carved granite animals: otter, grouse, hawk, and rabbit surround the gazelle. This was the first commission Fredericks received and it initiated his career as a distinguished public sculptor. Fredericks said: "I used this gazelle which to me has always been, in my mind at least, sort of the perfection of the four-legged. It's such a clean animal, it's herbivorous, it's the fastest animal alive, it's not a hunter, it's just a marvelous expression of the animal kingdom, and the lines of it are so beautiful and it just seemed to set itself up as a natural in that marvelous natural environment which Belle Isle was at that time, it was beautiful." The Leaping Gazelle is one of the most duplicated of Fredericks' sculptures. It can be found at numerous locations; nationally and internationally, including Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan; the Detroit Zoological Park, Detroit, Michigan; Gardens Mall, West Palm Beach, Florida; and Brookgreen Gardens, at Pawley's Island, South Carolina, where it was one of four purchase prize winners of a nationwide open sculpture competition in 1972. 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 1936 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/6350470903/in/set-72157628015891879"><strong>Leaping Gazelle, Meijer Gardens, Grand Rapids, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350466273/in/set-72157628015891879"><strong>Leaping Gazelle, Toyota City, Japan</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350466137/in/set-72157628015891879"><strong>Leaping Gazelle, Millesgarden, Lidingo, Sweden</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6351207934/in/set-72157628015891879"><strong>Leaping Gazelle, Detroit Zoological Park, Huntington Woods, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350465915/in/set-72157628015891879"><strong>Leaping Gazelle, Gardens Mall, Palm Beach, FL</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6351210662/in/set-72157628015891879"><strong>Leaping Gazelle, Greenwood Cemetary Birmingham, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6351210678/in/set-72157628015891879"><strong>Leaping Gazelle, Marselisborg, Sweden</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6351210710/in/set-72157628015891879"><strong>Leaping Gazelle, Memorial to Norwegian Emigrants, Stavanger, Norway</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6351207906/in/set-72157628015891879"><strong>Leaping Gazelle, Cranbrook, Bloomfield Hills, MI</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350463069/in/set-72157628015891879"><strong>Leaping Gazelle, Brookgreen Gardens, SC</strong></a> <a href="https://www.flickr.com/photos/marshallfredericks/6351207870/in/set-72157628015891879"><strong>Leaping Gazelle, Belle Isle, Detroit, MI</strong></a> Animal Animal Sculpture Leaping Gazelle Levi L. Barbour Memorial Fountain Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka2.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://omeka2.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://omeka2.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://omeka2.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://omeka2.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://omeka2.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://omeka2.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://omeka2.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