1 10 1886 https://omeka2.svsu.edu/files/original/2000662_66c42bfe4c.jpg d777cc47fc53db6484d1bdde7a51c7a8 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 817 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 Tools and Equipment Physical Dimensions The actual physical size of the original image. 36.5" x 34.5" Materials Wood Metal Catalog Number 2000.662 Object Location Location of object in collection. Sculptors Studio Provenance MF Studio c. 1945 - 1998 09/22/2000 gifted to MFSM March/April 2003 relocated to Sculptor's Studio 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 Paper Cutter Description An account of the resource Chicago Cardboard Company large size wooden paper cutter with steel blade attached to wood table. Table part is painted gray. Creator An entity primarily responsible for making the resource Chicago Cardboard Company 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 Equipment 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.) Paper Cutter Tool https://omeka2.svsu.edu/files/original/2000649001-006_8dd296487b.jpg 92aa85c70b6398c4dc99b982948fe3f8 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 683 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 Mold Materials Plaster Catalog Number 2000.649.001 2.5" x 1.5" x 1.5" 2000.649.002 3" x 2" x 1.25" 2000.649.003 2.25" x 1.375" x 1" 2000.649.004 2.875" x 2" x 1.25" 2000.649.005 2.875" x 1.875" x .875" 2000.649.006 2.75" x 2" x .75" Object Location Location of object in collection. Storage Room A - G6 Provenance 09/22/2000 gifted to MFSM 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 Aspiration, Loincloth, [Clay] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Loincloth for male figure of "Aspiration" for Midland Centenial Proposal. This was made by Scott Slocum. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Slocum, Glen Scott Date A point or period of time associated with an event in the lifecycle of the resource c. 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 Mold 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.) Aspiration Figure Figure sculpture Loincloth Model Plaster Plaster Model https://omeka2.svsu.edu/files/original/1991001_c2817cd3b2.jpg 76386a09600cf5ed381b4b28da361a06 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 2280 Width 1689 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. 23.75" x 15.5" x 15.25" Materials Bronze full-scale Travertine base Catalog Number 1991.001 Object Location Location of object in collection. Outside Museum entrance Provenance 1988 Gift of Mr. and Mrs. Ned Arbury Notes Note: One of Frederick's personal books was titled "The Great Ape" by Robert and Ada Yerkes can be found in the Sculptor's Studio on a work table. Note: Apparently Booth didn't see it until dedication day and had no idea of what it would be even though he asked for a Thinker. At the time in America (1930s) the Darwin theories were hot news and then you have many museums who wanted to have one at the entrance to their museum. I'm sure that Booth was impressed with the DIA's Thinker and wanted one, too. From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 18, 1991 "RE: I Spoke with Mrs. Suture who told me the date on the plaque is September 12, 1965. She is going to contact me with further information on it including height." Molly Barth copy: At the entrance to the Marshall M. Fredericks Sculpture Gallery to the right of the doors is the bronze "Thinker." Mr. Booth, the founder Cranbrook, wanted a "Thinker," just like August Rodin's "Thinker" for the steps of the art museum at Cranbrook, and he came to Fredericks and asked if he could do a "Thinker" for Cranbrook. Fredericks tried different things, but, of course, to copy Rodin's "Thinker" in any way was unthinkable. So, Fredericks made this chimpanzee, and Mr. Booth came into his studio and looked at it for a moment, and said, "It just may be he's thinking far more interesting thoughts than we are. I'll take it!" It's there today, on the steps of the art museum there at Cranbrook, carved in black granite. We have a later bronze cast. This "Thinker" has a brown patina. Visitors may feel and touch this bronze; but please do not touch the other sculptures inside the gallery - particularly the white plaster models. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: Fredericks had a pet monkey while at Cleveland School of Art. 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 Thinker [Bronze] Subject The topic of the resource Animal sculpture--20th century Apes in art Description An account of the resource The Thinker is a bronze sculpture of a seated chimpanzee with arms folded and legs crossed. His head rests on his proper right hand and is tilted back slightly giving the appearance of being in deep thought. LABEL: The Thinker, 1938 Bronze, cast 1988 Gift of Mr. and Mrs. Ned Arbury 1991.001 Fredericks created this sculpture after George Gough Booth, the founder of Cranbrook Educational Community, asked him to make a "Thinker" for the steps of the Cranbrook Art Museum similar to Auguste Rodin's renowned Thinker, a cast of which is on the steps of the Detroit Institute of Arts. The pose Fredericks' Thinker assumes is a direct reference to Rodin's sculpture; however, Fredericks' replacement of Rodin's heroic male nude with a bemused chimpanzee is a thought provoking variation on the earlier statue. Fredericks' choice of a chimpanzee reveals his fondness for primates. Fredericks indicated that when Booth saw the compact composition of the chimp stroking his chin, he commented that it was not like Rodin would have done, but Booth was sure the chimp was thinking much more interesting thoughts than most of us are. 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 Identifier An unambiguous reference to the resource within a given context 1991.001 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://flic.kr/p/aFfST3">The Thinker, Brookgreen Gardens, Pawley's Island, SC </a> <a href="https://flic.kr/p/aFfSTy">The Thinker, Foreign Ministry Building, Copenhagen, Denmark</a> <a href="https://flic.kr/p/aFfSSG">Birger Sandzen Memorial Gallery, Lindsborg, KS</a> <a href="https://flic.kr/p/aFfSY9">The Thinker, Millesgarden, Lidingo, Sweden</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350712853/in/set-72157628015891879">The Thinker, Holstebro, Denmark</a> <a href="https://www.flickr.com/photos/marshallfredericks/5915045743/in/set-72157627146083402">The Thinker, Marshall M. Fredericks Sculpture Museum, University Center, MI</a> http://omeka.svsu.edu/admin/files/show/9433 Animal Animal Sculpture Bronze Bronze Sculpture Chimpanzee Monkey The Thinker https://omeka2.svsu.edu/files/original/1991002_d2cc568d3c.jpg 97298aaa33cb042879cfafe06b6f4f31 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 2090 Width 2550 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. 54" x 36" x 77" Materials Plaster full-scale Catalog Number 1991.002 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 September 11, 1991 "RE: The Lion and Mouse - Lion and Monkey Molly told me that the Lion and Monkey was the predecessor of the Lion and Mouse although they were both created in 1957. The lion is in the same position but the monkey sits upon his left knee. Mr. Fredericks thought it would not be best to put the figure on the knee because he thought that children could sit there. He changed it to The Lion and Mouse with Aesop's fable in mind. Molly said she is aware that in Aesop's story the mouse frees the lion from the hunters net by gnawing through it. Although when Mr. Fredericks tells the story he says that the mouse pulled a thorn out of the lion's paw. She had not heard of the story of Androcles and the Lion." Molly Barth copy: The first plaster model is the Lion and the Mouse. The J. L. Hudson Company commissioned Fredericks to make this for Eastland Shopping Center in St. Clair Shores. The original sculpture for the shopping center was made from this plaster model. Here in the gallery, but the one that's at the shopping center is carved in limestone, the lion, and the little mouse that's on the paw of the lion, is cast in bronze and then gold-plated. Of course you all know the story of The Lion and the mouse. Well, let me tell you the story of the "Lion and the Mouse." One day, that lion came across this wee, little mouse and he was going to eat him, but the mouse said, "No! One day, I will be able to help you," and that lion just laughed at that mouse and he said, "How could you ever help me?," and he said, "I just know I can, one day!" So because he just thought it was so funny, he let the mouse go. But one day, the mouse heard the lion making a ferocious kind of cry, so he came across him, and he said, "What's the matter?" and he said, "Oh, my paw hurts so terribly!" so the mouse looked and he saw a thorn in his paw and he pulled that thorn right out of the lion's paw, and the lion was forever grateful to that wee, little mouse that he thought could never help him. That little mouse did show the lion what he could do, and they were forever friends. Carl Fredericks: The lion and the monkey was Marshall's first attempt and he did cast a maquette. But a dear Scandinavian lady he knew due to his Scandinavian work and who lived locally reminded him that there was a fable that the kids learned in school about the lion and the mouse. So he changed it and won the commission for the Eastland Mall project. She often visited the studio and would tell me this story. 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 Lion and Mouse [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource The Lion and Mouse, 1957 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.002 Fredericks stated that this sculpture illustrates the well known Aesop Fable of "The Lion and the Mouse." The mouse, whose life was spared by the lion, helps that same lion to escape a horrible fate. A fitting moral to the story is that kindness is seldom thrown away, be it given to the mightiest, lowliest, or smallest of creatures. Fredericks rendition illustrates the conclusion of the story in which the lion comes to friendly terms with the mouse. The J. L. Hudson Company commissioned this sculpture for Eastland Center in Harper Woods, Michigan. Like many of Fredericks' sculptures, he designed it specifically for children. Both animals are humanized with friendly facial expressions. The lion's reclining position and his crossed legs are very human-like, yet his huge round head is stylized with uniformly coiled ringlets and his knees are stylized and abstracted. These artistic intentions make the king of the jungle appealing to children and adults alike. 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 1957 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://flic.kr/p/aFeGQG">Lion and Mouse, Eastland Center, Harper Woods, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/5908371437/in/set-72157604118554937">Lion and Mouse, Marshall M. Fredericks Sculpture Museum, University Center, MI</a> Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model The Lion and Mouse https://omeka2.svsu.edu/files/original/1991003_b03cf287da.jpg 36be406a1e33ebf20236ca95d796b725 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 2640 Width 1876 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. 80" x 41" x 75" Materials Plaster full-scale Catalog Number 1991.003 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 October 23, 1991 "RE: Two Bears All of the photos in Mr. Fredericks' studio are dated to 1969. Molly has acknowledged that the correct date is 1964. This is inscribed on the plaster original." September 18, 1991 Memo to file From: Jennifer Lentz, Collection Documentation Intern Marshall M. Fredericks Sculpture Gallery Re: TWO BEARS - small-scale at Quarton Elementary School in Birmingham They have a small-scale bronze dated to 1967. There is no plaque but it is titled "Friends Big and Little." August 7, 1991 FROM: Jennifer Lentz, Intern Marshall M. Fredericks Sculpture Gallery RE: Two Bears at Southfield Public Library The sculpture is located in the Youth Services Area. It is bronze with brown patination and it rests upon an oval shaped black marble pedestal which is on a light colored marble base. There is a plaque mounted on the base which indicates is was a gift of the Friends of the Southfield Public Library. It is signed and there is a foundry mark - Bedi-Rassy NYC. I spoke with Carol Miller at the library and she said it was acquired in late 1969 or early 1970. However it must have been cast before 1970 because that is when the foundry changed it's name from Bedi-Rassy to Bedi-Makky. Note: A Full-Scale bronze in 1990 sold at auction by Leslie Hindman Auctioneers for $40,000, and had a personal estimate of $4,000/$6,000. Molly Barth copy: This is a full-size plaster model of the "Two Bears". Don't miss the little one that's hiding back behind. One's a brown bear, and one's a black bear, and, normally, they don't get along very well, but the big one's looking out for the little one. This was cast in bronze, and it's located at the Sterling Heights Public Library in Michigan and the little children went around collecting all the pennies that they could toward the donation of the casting in bronze. It's also located at Interlochen and also at Brookgreen Gardens in South Carolina, and also at the University of Illinois, Urbana, Illinois. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two Bears [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Two Bears, 1965 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.003 Two Bears was originally created for Lincoln Square, Urbana, Illinois. A large and small bear sit back to back in quiet contemplation. In nature, these two animals are enemies, however, Fredericks portrays the two in a gentle humanistic way, stressing tolerance. Notice the differences in the bears ears and noses. Also if you look closely at the small bear's knees you will notice a tear drop sculpting style, known as one of Fredericks' trademarks. Other sculptures that display this characteristic are The Thinker, Lion and Mouse, and the Male Baboon and Female Baboon sculptures. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Source A related resource from which the described resource is derived Animal sculpture--20th century 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.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6350791173/in/set-72157628015891879">Two Bears, Sterling Heights, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351535480/in/set-72157628015891879">Two Bears, Southfield Public Library, Southfield, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351535278/in/set-72157628015891879">Two Bears, Royal Oak Public Library, Royal Oak, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350790865/in/set-72157628015891879">Two Bears, Quarton School, Birmingham, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351535056/in/set-72157628015891879">Two Bears, Nevada Museum of Art, Reno, NV</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351534876/in/set-72157628015891879">Two Bears Meijer Gardens, Grand Rapids, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351534828/in/set-72157628015891879">Two Bears, Ferndale Public Library, Ferndale, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351534646/in/set-72157628015891879">Two Bears, Brookgreen Gardens, SC</a> <a href="https://www.flickr.com/photos/marshallfredericks/5908929298/in/set-72157604118554937e">Two Bears, Marshall M. Fredericks Sculpture Garden, University Center, MI</a> Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Two Bears https://omeka2.svsu.edu/files/original/1991004_b27ded5f8f.jpg bed5808cfc604ce2f73efa57fcf53a3a 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 1720 Width 2160 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 72" x 29" Materials Plaster quarter-scale Catalog Number 1991.004 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 Memo dated July 30, 1991 "RE: Spirit of Detroit On July 26, 1991 Molly told me that the Spirit of Detroit located at the City County Building is from 1958 so our quarter-scale was created anywhere from 1954 to 1958." MF, Sculptor copy: The City-County Building of Detroit In 1955 when a new building was to be erected to house city and county offices as a focal point of Detroit's new riverfront, the architects Harley, Ellington and Day again asked Fredericks's collaboration. It was an assignment to daunt the boldest sculptor. The twenty-story white marble building was to stand at the junction of two streets, Woodward and Jefferson Avenues, carrying heavy streams of automobile traffic. The building was to be a long rectangle, its narrow western end facing the intersection of the oldest and most historic roads in the state. Again, as in the Veterans Memorial Building, the narrow end of the building was treated as a single monument. At its base Fredericks designed a kneeling giant, in green bronze, five times life size, representing the Spirit of Detroit. In one outstretched hand the male figure holds a gilt-bronze sphere symbolizing the spirit of God or deity, in the other a gilt-bronze group of the human family. A marble screen behind the bronze figure forms a transition between the statue and the lofty wall behind; it also serves to conceal a building entrance that might otherwise seem a mere mouse hole. Building, screen, and statue form a harmonious whole. The marble screen serves to identify the building through the official seals of Wayne County and the city of Detroit carved on its surface. Beneath the seals is an inscription: "Now the Lord is that Spirit and where the Spirit of the Lord is, there is Liberty (II Corinthians 3:17)." As often happens, the best solution of a problem (and this one is very successful) is a simple one; a figure, both at rest and suggesting movement; familiar yet symbolizing the complexities of time, space and thought; heroic and accessible. The Spirit of Detroit was immediately popular, warmly embraced by both the public and the officials within the building. It was given an affectionate nickname, "The Jolly Green Giant," and used on official stationery as a logo and as a symbol of the city on billboards directing visitors approaching the city via major highways. Few sculptures have been so promptly adopted as the symbolic image of a city. MF archives: Fredericks stated he never named the piece. "The theme was a verse from the Bible (2 Corinthians 3:17): Now the Lord is that Spirit: and where the Spirit of the Lord is, there is liberty." "I tried to express the spirit of man through the deity and the family," Gradually people began calling it Spirit of Detroit. He also waived his creative fee for this sculpture and it actually ended up costing him money to produce; he thought a mere part of his civic responsibility. Molly Barth copy: This is titled "The Spirit of Detroit". This is just the quarter-scale. The full-size bronze casting is located in front of the City/County Building in downtown Detroit. It's become the symbol for Detroit; they use it for their logo on billboards, and various other things. What's also nice about this monumental piece is that as you look at it, the building is very tall, and there at the bottom of this building, as you look at it, is the big "Spirit of Detroit," and there's a concave pylon (a wall) that's behind "The Spirit of Detroit" that conceals the "mousehole" entrance to the building. So as you look at it, it's really one monument. In "The Spirit of Detroit's" left hand he's holding the Deity, or God, and then in his right hand is the family. Of course, he represents the spirit of man. On this wall, this pylon behind "The Spirit of Detroit," is the seal of Wayne County and also the seal of Detroit. The verse is from Second Corinthians, "The Lord is that Spirit, and where the spirit of the Lord is, there is liberty." Mr. Fredericks never actually named this piece. The people of Detroit did, from that verse, "The Spirit of Detroit." This was cast in Norway, and brought over by boat. The four largest pieces, other than the Statue of Liberty, were done by Marshall Fredericks, and they came over by boat, over the great seas. They were cast there in Norway, because there really wasn't a foundry here in the United States that was capable of doing something this monumental. This took him four years to do, and was dedicated in 1958. We do have the full-size head of "The Spirit of Detroit," here in the Gallery, but just the head. It's there on the middle pedestal; there in front of the middle column. It's between Kennedy on the left, and Churchill on the right. Let me tell you a humorous, prankster story. I think it occurred in the 1960s. Some teenagers had spray painted some gigantic, green footprints from the "Spirit of Detroit" to the "Maiden" and back again. The "Maiden" was in front of the gas company, it still is. Anyway, it was a real funny story that he went over there at night and came back, footsteps returning back to where the "Spirit of Detroit" was. The "Spirit of Detroit," is patinated a natural green color, and then the "Deity" and the "Family" are gold-leaf. They're very striking, very beautiful. From 1995 Mary Iorio of Cranbrook, interview with Fredericks, these notes: The Spirit of Detroit support two emblematic forms while linking them. On the Godhead, the rays represent the omnipotence of God, with the three rings representing the trinity. The family is man, woman and child. The balance of the two shows the importance of family. Fredericks' figures don't scream. Their uplifting and inspirational messages seem to exude quietly. The figure is benevolent and calm. Iorio asked how the Spirit of Detroit came about. Fredericks replied: "The City/County Building in Detroit was really like a cigar box. It needed something to identify it, its permanence, and to maybe embellish it at the same time. We discussed it and thought it needed something to mark the entranceway. We added the big, curved wall. Then it needed something in front of it that would be meaningful to the city and to the people of Detroit. There was already too much about the Cedilla Indians and warriors. I thought it needed something of a more spiritual nature. I looked in the Bible. Second Corinthians talked about liberty. So I built the figure to go with that quotation from Second Corinthians and I think quite a lot of people got something out of it. I tried to design a figure for the deity. That was very had because it could be all kinds of things: power, strength, kindness, beauty and all the attributes of God. So I started with that sphere because it's complete, there's no beginning, no end, nothing extraneous. It's one complete thing like the sun or the moon. The rays represent the expressions of that entity, all the forces of good and all the power and strength, all the attributions of God emanating from that symbol. Then the rings are the holy trinity. In order to get approved, the city wanted to put it up, but the councilman thought they might have trouble with the different religions. They had one representative from every religion. They had about 30 who came to the meeting of the city council to discuss the sphere and vote on it. They did and when they voted, it was unanimous. The idea of the statue is the god is reflected through the spirit of man and that human family was the complete relationship. I hoped that they would feel the city was in the hands of God, so to speak, that they were protected in some way and that it would be better. Positive thoughts." From Joy Colby Interview-1981: As a matter of fact, the three largest pieces outside of the Statue of Liberty that crossed the ocean, I did in Norway and (they) were shipped to this country. Then when I did the Spirit of Detroit, it was too big to fit into that room (in Norway) because I had to do it in one piece-the other pieces were done in sections-so I was able to rent a big space in the Veemar (Weimar, sp?) Hall and that's the place where they make all the wine and beer and liquor in Norway, it's all owned by the government. And this was down next to their big furnaces which are as big as a house. It was very hot down there and very poor light. But that's where I made the big Spirit of Detroit." "I made the small model here, the original little small model. And then I made one that was one-sixth size here down in the studio on Woodward Avenue. Then I took that over to Norway and made the big one over there because I couldn't really ship the big model two ways. I couldn't ship the big plaster model over there and then ship the bronze back, so I just made it over there, cast it right in bronze in the same city and shipped the big bronze back. It took up the hold of an entire ship. By the way, there's a wonderful film about that that the City (Detroit) made, the whole story of the Spirit of Detroit, it's in marvelous color. Jim Handy produced it as a gift to the City. It used to be shown regularly in all the schools and libraries, but the last couple of administrations, I guess, just weren't interested and so it's kind of been lost now. I don't think anyone knows where the films are. I have a copy in the studio. It's really quite a fine film. It should be shown in the schools. They had a record of how many millions of children over the years have seen that; it was incredible how many million. The schools and libraries sent in reports on how many times they showed it and it was incredible how many had seen it. It's kind of fun because then they know how it's made and how it was put up; it showed dignitaries there when it was put up. It showed them shipping it in Norway. For instance, to get it from the foundry down through the streets to the quay to put it on the ship they had to do it at night because they had to take down the streetcar cables and the overhead wiring; it was so big; to get it down the street, it had to be done in the darkness of night. And then all the wires had to be put back up again. It was an unbelievable task. But the Norwegian people were so interested and the mayor of Norway and the city council were willing to do that because they knew that it was good for Norway, too. Although today I don't suppose many people know that it was made there since that film isn't shown there." Is this all on film, the transferring of the sculpture to the ship? "Yes. It's very interesting. We showed it to Alden Dow a few months ago in Midland." That would mean that if you made the large sculptures in Norway that you would be living there for months at a time? "I commuted because I was doing a lot of work here and also a lot of work in New York. I rented a studio space in a studio on 21st Street for about the same period of time and I commuted between here and New York and Norway and would go over there for periods and come back and Rozzie came over a number of times. It was a very busy time, but I was young and I could do it. Now I couldn't do it. But it was a very busy, trying time and a lot of work was done in those years, a lot of pieces were finished." 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 Spirit of Detroit [Plaster] Subject The topic of the resource Detroit (Mich.) Figure sculpture, American--20th century Description An account of the resource The Spirit of Detroit, 1958 Quarter scale model Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.004 Working from this model, Fredericks made the full-scale model for the sixteen-foot tall figure at the entrance to the Coleman A. Young Municipal Center in Detroit, Michigan. For monumental sculpture, sculptors typically create a small model or maquette, then a one-third or one-quarter scale model, then the full-size model. This provides an opportunity to work out compositional details prior to construction of the large, expensive, and time-consuming full-scale model. Enlargement of the model is done with a point-up or pantograph machine. Three are on display in the Sculptor's Studio. Note the rough surface and compare it to the smoother surface of the full-scale model for the Head of the Spirit of Detroit, central in the Main Exhibit Gallery. Fredericks stated he never named the piece. He said: "The theme was a verse from the Bible (2 Corinthians 3:17); 'Now the Lord is that Spirit, and where the Spirit of the Lord is, there is liberty.' I tried to express the spirit of man through the deity and the family," Gradually people began calling it Spirit of Detroit. He also waived his creative fee for this sculpture and it actually ended up costing him money to produce; he thought a mere part of his civic responsibility. 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/6351445022/in/set-72157628015891879">The Spirit of Detroit, Detroit, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/8663364314/in/set-72157628015891879">The Spirit of Detroit, Detroit, MI</a> Animal Animal Sculpture Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model The Spirit of Detroit https://omeka2.svsu.edu/files/original/1991005_6073c6a143.jpg c9da539ee73ec4b0fe0e107a377687eb Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 287 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 60" x 25" x 17" Materials Plaster Full-scale Catalog Number 1991.005 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 July 1, Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 11, 1991: "RE: Mother and Child - Two Sisters On the list that Mrs. Fredericks created titled: Principal Works of Marshall M. Fredericks, it lists several different Mother and Childs as well as Two Sisters. I asked Mr. Fredericks if these are different sculptures or just variations with different names. He said the first one listed as Mother and Child, 1930, plaster 12" high, destroyed, no longer exists. They showed me a photograph of it. The mother figure has both arms raised to the sides and she is wearing some sort of loose garment like a cape. The next one listed Mother and Child, 1931, porcelain, 12" high, destroyed, no longer exists either. They showed me a photo of it also. The mother is seated and leans backward and the child reclines in her lap. I asked him about the name of our maquette and the full-size plaster. He said he originally named the maquette Mother and Child. The name Two Sisters was not used until 1965 when Robert Grindley comissioned it as a memorial for his wife to be placed at Kingswood in a fountain. His two daughters attended Kingswood School. Mr. Fredericks said we should title it Mother and Child also called Two Sisters. (However the bronze cast in the MFSG Garden is labeled Two Sisters.) The earliest date we have for the composition that survives today is from 1937 for a gilt bronze on at Cranbrook. There is also one from at least May 1939 when it was pictured in Pencil Points magazine in an alternate design for a fountain basin. In these two early versions as well as our maquette dated to 1942 the younger figure has the cap-like hair style. Not until 1965 does she appear with braids. 1937 is also the date for Eve which is listed as being a study for Two Sisters/Mother and Child on the list of works. 1965 is the first time the name Two Sisters was used." From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 5, 1991 (Excerpt) "RE: Works at Cranbrook Academy of Art Museum: Two Sisters/Mother and Child Childhood Friends Torso of a Dancer Persephone (Bacchante) Today I met with David Rau at the Cranbrook Academy of Art Museum. He showed me two works by Fredericks in storage. One was labeled Two Sisters and dated 1938-39. Our records from Cranbrook (?) indicate this piece is from 1937 and it is titled Mother and Child. It is about two feet high (I did not measure it) and is fire gilt bronze. The figures are similar to the figures in the maquette in Pencil Points magazine from May 1939. The younger child has the cap-like hair style. I will have to compare them to tell if the figures are exactly the same. In any case these figures are closer to the figures in our maquette than to the figures in the actual fountain and to the full-scale plaster of the two figures in the gallery." MF, Sculptor copy: In 1940-42 Fredericks executed one of the most graceful and winning of his early works, the Two Sisters fountain, which was cast and erected, after the interruption of World War II, in 1964 in a courtyard of Kingswood School for Girls at Cranbrook. The evolution of his style gave to these human figures also the clarity of silhouette, the clean, firm forms, and the stylized detail required for a piece in sunlight. Molly Barth copy: The next piece is entitled "Mother and Child" or "The Sisters." This is the plaster model that was used for the bronze casting that's at Kingswood, the girl's school at Cranbrook, in Bloomfield Hills, Michigan. We also have a bronze casting that was donated to Saginaw and is outside in the Sculpture Garden. Mr. Fredericks originally did this in 1941, and he hoped that this would be at Cranbrook, and World War II broke out, and that kind of put everything on hold. He came back, but it still did not materialize, then a gentleman came into his studio, and saw this, and he was looking for a memorial for his wife, and it just so happened that his two daughters had gone to Kingswood, so he thought this would be just the perfect piece, so it was dedicated in 1965, and it's there in the courtyard there at Cranbrook, at Kingswood. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two Sisters (Mother and Child) [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Two Sisters (Mother and Child), 1942 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.005 This is the full-scale model for the figures in the Two Sisters Fountain, located in a courtyard of Kingswood School, Cranbrook Educational Community, Bloomfield Hills, Michigan. A smaller, maquette of this sculpture is also on display in the Main Exhibit Gallery. Fredericks enlarged the maquette to life size and cast this full-scale plaster original before leaving Cranbrook for military service in 1942. The figures were not cast in bronze until 1965 when Robert Grindley decided that the composition would be an appropriate memorial for his wife. His two daughters attended Kingswood School, thus the fountain was named TWO SISTERS. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1942 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/5908931318/in/set-72157604118554937">Two Sisters, Sculpture Garden, Marshall M. Fredericks Sculpture Museum, University Center, MI</a> Animal Animal Sculpture Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Two Sisters (Mother and Child) https://omeka2.svsu.edu/files/original/1991006_943b62706a.jpg c997620c41697df7634f860187464db7 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 79" x 42" x 78" Materials Plaster Catalog Number 1991.006 Object Location Location of object in collection. Main Exhibit Gallery Provenance 11/19/1987 gifted to MFSM Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated July 30, 1991 "RE: Boy and Bear On July 26, 1991 Molly told me there is a small scale Boy and Bear bronze located inside the Grosse Pointe library." August 7, 1991 FROM: Jennifer Lentz, Intern Marshall M. Fredericks Sculpture Gallery RE: Boy and Bear at Grosse Pointe Central Library There is a small "Boy and Bear" located in their children's room. It is on book marks sold there and it has become the logo for the Friends of the Grosse Pointe Public Library. It was donated in memory of Helen Hines Thomas by her friends from the Detroit Industrial school. In the library's vertical file is one small article about the sculpture. We do not know the date of this object at this time. Facts: -relates to Rudyard Kipling's Novel The Jungle Book published in 1894. An illustration in an original Kipling book looks very much like Marshall's sculpture. -claimed it relates to a Norwegian novel his grandmother told him. -Fredericks said that this had no relation to Kipling's Jungle Book movie by Disney as it was modeled before the Disney movie was made (1954). National Archives Interview with Marshall Fredericks: "Well, as you know, the first shopping mall was Victor's Gruen's Northland; that was the first one in the world, I guess. He and his staff were very art conscious and they thought that sculpture would really enhance the architecture and they were right because it made architecture more personal and related to people better. People don't like to go shopping in just a cement building, you know; they really don't. If it has something that appeals to their eye and is more friendly and warm and maybe has a little fun connected with it I think they enjoy it more. That was the reason I did The Bear and the Boy there; that was the first piece ever done for a shopping center. I wanted to reach people who would come there to shop and the people who come there to shop basically are people, mothers and fathers, especially mothers with their children and I think over the years it's attracted an awful lot of children and that attracts mothers, as mothers buy dresses, you know. So it worked. The same with the Lion and The Mouse." Molly Barth copy: The next plaster model is titled, "The Boy and the Bear." J. L. Hudson commissioned Mr. Fredericks to do this piece also. The bear is carved in limestone and the boy is cast in bronze and then gold-plated. This is located at Northland shopping Center, in Southfield, MIchigan. Northland was the first mall, as we know malls today in the nation. It was originally outside, but as the mall grew, it is now was located inside, just outside one of the entrances to Hudsons. This took Mr. Fredericks start-to-finish three years, and it was dedicated in 1954. As I mentioned, the one that's at Northland, the bear is carved in limestone, and here in the plaster model, you can see it; we think of stone as being cold and hard, Mr. Fredericks really goes against nature, and he has created this bear, and when you look at him, you think of really as being very friendly, very huggable. You get the feeling that if you squeezed one of his ears, which you can't here with the plaster model, but if you were able to, that it would be very soft, it's amazing what Mr. Fredericks can create out of nature, and just create this bear that looks so soft. We also have "The Boy and Bear," that's cast in bronze, that was donated, and it's outside in the Sculpture Garden. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: Fredericks said, "Well, the Boy and the Bear was made for a shopping center. I made it 40 years ago. I put the Boy and Bear up. This sculpture student was upset because she didn't think it looked like a grizzly bear. 'It should have a nose like this and eyes like this.' So I said, 'I know exactly what a bear looks like. But I don't want to show that aspect of a bear.' I wanted to show the bear as a cuddly, friendly and lovable kind of bear. I said, 'It's not a real bear, it's a play bear.'" Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Boy and Bear [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource The Boy and Bear, 1954 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.006 Fredericks was one of six artists commissioned by the J.L. Hudson Company to design sculpture for Northland Center in Southfield, Michigan. At the time it opened in 1954, Northland was the country's largest shopping center as well as the first regional shopping center. In a 1981 National Archives Interview, Fredericks states: "Well, as you know, the first shopping mall was Victor's Gruen's Northland; that was the first one in the world, I guess. He and his staff were very art conscious and they thought that sculpture would really enhance the architecture and they were right because it made architecture more personal and related to people better. People don't like to go shopping in just a cement building, you know; they really don't. If it has something that appeals to their eye and is more friendly and warm and maybe has a little fun connected with it I think they enjoy it more. That was the reason I did The Bear and the Boy there; that was the first piece ever done for a shopping center. I wanted to reach people who would come there to shop and the people who come there to shop basically are people, mothers and fathers, especially mothers with their children and I think over the years it's attracted an awful of children and that attracts mothers, as mothers buy dresses, you know. So it worked. The same with the Lion and the Mouse." Despite similarities between this sculpture and the characters in Walt Disney's movie The Jungle Book, Fredericks' disavows any influence from Walt Disney or Rudyard Kipling, the author of The Jungle Book which was originally published in 1894. Fredericks has said that he simply wanted to make a sculpture of a boy and bear because it would be fun. A bronze of this scale can be found in the Sculpture Garden. The Northland sculpture was carved in limestone and the boy is cast in bronze and is gold-plated. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1954 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/5908372449/in/set-72157604118554937">Boy and Bear, Marshall M. Fredericks Sculpture Museum, University Center, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350659276/in/set-72157628015891879">Boy and Bear Northland Center, Southfield, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350653376/in/set-72157628015891879">Boy and Bear, Meijer Gardens, Grand Rapids, MI</a> Animal Animal Sculpture Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model The Boy and Bear 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">Wings of the Morning, Meijer Gardens, Grand Rapids, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351562068/in/set-72157628015891879">Wings of the Morning, First Presbyterian, Kalamazoo, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350817489/in/set-72157628015891879">Wings of the Morning, First Presbyterian, Birmingham, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350817443/in/set-72157628015891879">Wings of the Morning Brookgreen Gardens, SC</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350234967/in/set-72157628015891879">Wings of the Morning, Kirk in the Hills, Bloomfield Hills, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/5908373057/in/set-72157604118554937">Wings of the Morning, Marshall M. Fredericks Sculpture Museum, University Center, MI</a> Format The file format, physical medium, or dimensions of the resource <a href="https://www.flickr.com/photos/marshallfredericks/5908373057/in/set-72157604118554937">Â </a> Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Wings of the Morning 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">Man and Expanding Universe, Washington, D.C.</a> Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model The Expanding Universe Fountain