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                  <text>The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including:&#13;
&#13;
Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
&#13;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
&#13;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed&#13;
&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
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Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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                <text>Pieces of the plaster mold for "Lord Byron" (The Poet)</text>
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                <text>Artists' studios--United States.&#13;
Byron, George Gordon Byron, baron, 1788-1824. &#13;
Figure sculpture, American--20th century. &#13;
Fredericks, Marshall M., 1908-1998&#13;
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                <text>According to MaryAnn Wilkinson, former curator of modern and contemporary art at The Detroit Institute of Arts, â€œHis last monumental work, Lord Byron, designed in 1938, enlarged by the artist, and cast posthumously in 1998 for the Marshall Fredericks Sculpture Museum paradoxically seems to refer back to Fredericks's earliest influences.  This literary figure clearly inspired by Rodin's Balzac, strikes a shameless dramatic pose: head flung back with his hand on his forehead, heavy cloak partially pulled around his body with the other hand flying out to the side and back.  Fredericks, in contrast to the symmetry that generally characterizes his designs, treated each side of the Byron figure in a different manner.  Along its right side, the figure is closed and solid.  The drop of the heavy cloak does not allow for articulation of forms or even for suggestion of the body beneath.  Rather, the artist exploits the long, unbroken line of the cloak from the figure's chin to the ground.  In contrast, the figure's left side is open and plastic with elbow and knee flung out at an angle from the nipped-in waist.  Like Sun Worshipper, The Poet: Lord Byron represents an important mid-career design that he was only able to realize in large scale at the end of his career.â€ (Marshall M. Fredericks, Sculptor, p. 15)  &#13;
&#13;
Byron was a member of the Romantics Poets movement and lived from 1788-1824. As a young adult, Fredericks developed a deep passion for Byronâ€™s poetry.  The Poet: Lord Byron was cast posthumously in 1998 and resides in the Marshall M. Fredericks Sculpture Museumâ€™s sculpture garden.   &#13;
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                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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                <text>Bloomfield Hills (Mich.)</text>
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                  <text>The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including:&#13;
&#13;
Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
&#13;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
&#13;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed&#13;
&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
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Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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                <text>Pilgrims to the shrine kneel in prayer below "Christ on the Cross"</text>
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                <text>Bronze sculpture, American--20th century.&#13;
Figure sculpture, American--20th century. &#13;
Fredericks, Marshall M., 1908-1998 &#13;
Jesus Christ--Crucifixion--Art.&#13;
&#13;
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                <text>Considered by Fredericks to be â€œhis greatest challenge,â€ the figure of Christ took him four years to complete. Funded by contributions from over 10,000 summer visitors to the shrine, the twenty-eight foot corpus symbolizes a Christ on the cross who is still living. Fredericks chose to depict the figure without a crown of thorns or a spear wound in its side.  In this design, he â€œwanted to eliminate the suffering and agony for the observer and give the face an expression of great peace and strength.â€ &#13;
&#13;
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                <text>Maurice C. Hartwick</text>
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Series V, Box 5, Folder 21&#13;
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&#13;
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              <text>From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated April 3, 1992:&#13;
"RE: Spirit of Kentucky&#13;
The reliefs on the Louisville Courier-Journal Building were cast at the Roman Bronze Works, Inc. in Corona New York. They are mounted on Veined Ebony Black granite. Mr. Fredericks said the following about the reliefs. 'I hoped to make this something you would not just look at one time and dismiss. I wanted it to be something that the children would be able to understand and enjoy and see something different about it each time they saw it again.'"&#13;
&#13;
MF archives:&#13;
Marshall was contacted by Donald Oenslager of New York, design consultant for the new Louisville Courier Building, regarding this commission.  Mr. Oenslager had been asked to approach Carl Milles about doing the sculptural reliefs for this building entrance.  Mr. Oenslager states in a letter to Marshall dated July 29, 1946:   &#13;
	"They suggested I approach your Father-Superior, Karl Milles, about sculptural work for the building.  This I have done hoping, with you in the back of my mind, that his fee might be too expensive and that he might be too occupied.  That is the case and I have proposed to the owners that I get in touch with (you) about designing and executing the sculptural decorations of the main entrance of the building. The owners and publishers of the papers are very much in favor of my proposal and I am writing to you to inquire whether their project might interest you."  He continues "For subject matter the clients seem inclined toward the representation of a number of scenes and episodes from the history of the state of Kentucky." &#13;
	Barry Bingham was the owner of the new Courier-Journal building and former ambassador to London's son and a young and progressive editor who has a very deep interest in the contemporary arts. He corresponds frequently and cordially with Marshall on the design of his relief sculpture.&#13;
	Marshall did take on this commission for the sum of $10,000 which was paid to him in three payments of $3333.33.&#13;
	His intent for the project was for "children to be able to understand and enjoy and see something different about it each time they saw it again."&#13;
&#13;
MF, Sculptor:&#13;
The main entrance to the building of the Louisville Courier-Journal presented another kind of problem-to embody the spirit and the history of a state in visual form. The building was a not unusual downtown business structure, having an entrance in the form of a shallow rectangular recess. Fredericks took as the subject for its enrichment the history of the region, in which the Courier-Journal is the one great newspaper. Kentucky, one of the earliest states to be settled by the tide of western migration, has a store of memories: the pioneer settlers, the great rivers with their picturesque side-wheelers, its farms and blooded horses. The tall space over the door was a difficulty which was solved by grouping these memories in bronze low reliefs, arranged as if free-flowing on a polished black granite background, as they might present themselves in the imagination-a pioneer family with the animals in the forest; riverboats and giant catfish; tobacco and sheep; thoroughbred horses. These free-form reliefs, completed in 1948, were a skillful solution to the problem of an awkwardly shaped wall area.&#13;
&#13;
Molly Barth copy:&#13;
On this wall are fragments of the scale-models for The Spirit of Kentucky relief which was made to go above the entrance of the "Louisville Courier Journal" newspaper building in Louisville, Kentucky.  The bronze sculpture in Louisville is 16 feet x 16 feet square.  These vignettes of life in Kentucky float on the.  The newspaper commissioned Fredericks to do this.  It was dedicated in 1947.  They wanted to tell a little bit about Kentucky so that students or children coming to see how a newspaper was made they could look and see a little bit of their state history as they were walking into the building or as they were walking along the sidewalk.  The two fragments we are missing are the thoroughbred horses and the tobacco industry.  On the left are two raccoons with their dinner that they caught. In the middle is the giant catfish with the paddlewheels.  On the right is the pioneer family with the woodland animals.  Down below, again, are the giant catfish and the paddlewheels.  Those two on the right are just the quarter-scale models.  The other two, the raccoons the larger catfish and the paddlewheels are the full-size plaster models.  They are the same size as the bronze casts now located on the facade of the building.  There you've got the giant catfish and the paddlewheels, but up above in the tree limbs, are Huckleberry Finn and Tom Sawyer looking down on the paddlewheels.  These were cast in bronze.  When Fredericks was commissioned to do this, the newspaper invited him and Mrs. Fredericks to come to tour their state, so that he could experience first-hand what Kentucky was like.  He did and he came up with some very nice aspects, of liking Kentucky, the spirit of Kentucky.</text>
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	Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
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&#13;
This segment was not used in the completed sculpture for the Louisville Courier-Journal because it relates more to the State of Missouri, than the State of Kentucky.</text>
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RE: Conversation with Mr. Fredericks about the history of several works in the gallery&#13;
&#13;
"Indian and Buffalo, Pioneer Woman and Ox--He designed these in hopes that they could be sold and carved in stone for a state capital somewhere out west but it didn't work out."</text>
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&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
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&#13;
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&#13;
--------------------------------------------------------------------------------------------------------&#13;
From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
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RE: Conversation with Mr. Fredericks about the history of several works in the gallery&#13;
&#13;
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            <description>Information about rights held in and over the resource</description>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum</text>
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            <description>The nature or genre of the resource</description>
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        <name>Pioneer Woman and Ox</name>
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        <name>Plaster Mold</name>
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        <name>Rubber Mold</name>
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11/16/2000 gifted to MFSM&#13;
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            <description>An account of the resource</description>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum</text>
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            <description>The nature or genre of the resource</description>
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        <name>Tool</name>
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