721 10 8302 https://omeka2.svsu.edu/files/original/96200eedee776d5e1ac11e8213db7c36.jpg 9bb44fa9ac6594be6be29735ab1ff46f 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 Archives Collection Description An account of the resource The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including: Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces Subject Files: (24 linear feet) document Fredericks’ civic interests such as Disabled Americans’ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum Financial (30 linear feet) document the day-to-day operations of running a studio Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericks’ teaching career, projects, civic activities, and personal life Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc. Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed Video/Films/Audio: (13 linear feet) including media relating to Fredericks’ work, civic interests, and life Ephemera:(8 linear feet) containing portfolio postcards, posters, etc. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Color print Physical Dimensions The actual physical size of the original image. 4" x 6" 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 plaster model of "Christ on the Cross" with open chest at K & M Machine - Fabricating Inc. Subject The topic of the resource Figure sculpture, American--20th century. Fredericks, Marshall M., 1908-1998 Saginaw Valley State University. Marshall M. Fredericks Sculpture Museum Sculpture--Conservation and restoration--United States. Description An account of the resource Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop. Source A related resource from which the described resource is derived Marshall M. Fredericks Papers Series V, Box 25 Folder 5 Date A point or period of time associated with an event in the lifecycle of the resource 1987-03-16 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Archives. Relation A related resource V-25-05 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cassopolis (Mich.) Christ Christ on the Cross Crucifixion Fabricating Figure sculpture Jesus Christ K & M Machine Model Plaster Plaster Model V2505 https://omeka2.svsu.edu/files/original/bc441338693f2368e65ea22df99f93c1.jpg ab3ff11b4ab8a412032f4d451e5f8d06 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 Archives Collection Description An account of the resource The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including: Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces Subject Files: (24 linear feet) document Fredericks’ civic interests such as Disabled Americans’ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum Financial (30 linear feet) document the day-to-day operations of running a studio Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericks’ teaching career, projects, civic activities, and personal life Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc. Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed Video/Films/Audio: (13 linear feet) including media relating to Fredericks’ work, civic interests, and life Ephemera:(8 linear feet) containing portfolio postcards, posters, etc. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Color print Physical Dimensions The actual physical size of the original image. 3.5" x 5" 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 plaster model of "Nordic Civilization" from the "Cleveland War Memorial: Fountain of Eternal Life" for the Marshall M. Fredericks Sculpture Museum Subject The topic of the resource Animal sculpture--20th century. Figure sculpture, American--20th century. Fredericks, Marshall M., 1908-1998 Saginaw Valley State University. Marshall M. Fredericks Sculpture Museum Description An account of the resource Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop. Source A related resource from which the described resource is derived Marshall M. Fredericks Papers Series V, Box 25 Folder 2 Date A point or period of time associated with an event in the lifecycle of the resource n.d. Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Archives. Relation A related resource V-25-02 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Cleveland War Memorial: Fountain of Eternal Life Marshall M. Fredericks Sculptural Museum Model Nordic Civilization Plaster Plaster Model V2502 https://omeka2.svsu.edu/files/original/879341a5c4dcd637224cff5dfc931eac.jpg e1338bcccf70ab47af0f74b7a7e86789 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 Archives Collection Description An account of the resource The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including: Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces Subject Files: (24 linear feet) document Fredericks’ civic interests such as Disabled Americans’ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum Financial (30 linear feet) document the day-to-day operations of running a studio Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericks’ teaching career, projects, civic activities, and personal life Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc. Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed Video/Films/Audio: (13 linear feet) including media relating to Fredericks’ work, civic interests, and life Ephemera:(8 linear feet) containing portfolio postcards, posters, etc. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Color print Physical Dimensions The actual physical size of the original image. 3.5" x 5" 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 plaster models for "Eastern Civilization" and "Nordic Civilization" prior to installation in the Marshall M. Fredericks Sculpture Museum Subject The topic of the resource Animal sculpture--20th century. Figure sculpture, American--20th century. Fredericks, Marshall M., 1908-1998 Saginaw Valley State University. Marshall M. Fredericks Sculpture Museum Description An account of the resource Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop. Source A related resource from which the described resource is derived Marshall M. Fredericks Papers Series V, Box 25 Folder 2 Date A point or period of time associated with an event in the lifecycle of the resource n.d. Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Archives. Relation A related resource V-25-02 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image 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 Kingdoms Eastern Civilization Installation Marshall M. Fredericks Sculptural Museum Model Nordic Civilization Plaster Plaster Model V2502 https://omeka2.svsu.edu/files/original/d2f44c93c10afccd66a50821779824e6.jpg fa63425e0401c777b3cef491fae50b89 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 Archives Collection Description An account of the resource The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including: Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces Subject Files: (24 linear feet) document Fredericks’ civic interests such as Disabled Americans’ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum Financial (30 linear feet) document the day-to-day operations of running a studio Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericks’ teaching career, projects, civic activities, and personal life Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc. Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed Video/Films/Audio: (13 linear feet) including media relating to Fredericks’ work, civic interests, and life Ephemera:(8 linear feet) containing portfolio postcards, posters, etc. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Color print Physical Dimensions The actual physical size of the original image. 4" x 6" 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 plaster mold for the head of "The Friendly Dragon" with the full-scale plasteline model partially covered in plaster in the background Subject The topic of the resource Animal sculpture--20th century. Artists' studios--United States. Dragons in art. Fredericks, Marshall M., 1908-1998 Description An account of the resource “I did … a dragon; I called it The Friendly Dragon. The architect said he didn't think he would use it because he said the children would be frightened of a dragon. But children love dragons and it's not an ugly dragon, it's a friendly dragon with a big smile and it's cozy and you can sit on its back on those humps on its back. It's just that he never was a child, I guess, so he doesn't know. So they put up a thing, a structural beam thing. I've never seen a child near it so maybe they didn't get the audience that they wanted really. I think maybe I'll do that Dragon. I like dragons anyway, they're special.” (Marshall Fredericks, from a 1981 interview with Joy Colby, The Detroit News art critic.) Throughout his long career, Fredericks often returned to his joyful and whimsical work that involved animals. “The Friendly Dragon, cast twice in 1991, as a pair for the Meijer Gardens, Grand Rapids, Michigan, is a child’s magical dream. Like a Maurice Sendak illustration (popular author of Where the Wild Things Are), Fredericks’ dragon presents a danger that has become approachable, a wild animal that has become as friendly as a pet.” (Marshall M. Fredericks, Sculptor, p. 14) Source A related resource from which the described resource is derived Marshall M. Fredericks Papers Series V, Box 13 Folder 19 Date A point or period of time associated with an event in the lifecycle of the resource 1991 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Archives. Relation A related resource V-13-19 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bloomfield Hills (Mich.) Animal Dragon Friendly Model Plasteline Model Plaster Plaster Model Studio The Friendly Dragon V1319 https://omeka2.svsu.edu/files/original/the-plaster-molds-for-lord-byron-(the-poet)-in-the-greenhouse-studio_4e207c2b0b.tif d32d38c4e288762ebd10502fad84a0c0 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 Archives Collection Description An account of the resource The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including: Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces Subject Files: (24 linear feet) document Fredericks’ civic interests such as Disabled Americans’ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum Financial (30 linear feet) document the day-to-day operations of running a studio Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericks’ teaching career, projects, civic activities, and personal life Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc. Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed Video/Films/Audio: (13 linear feet) including media relating to Fredericks’ work, civic interests, and life Ephemera:(8 linear feet) containing portfolio postcards, posters, etc. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Color print Physical Dimensions The actual physical size of the original image. 4" x 6" 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 plaster molds for "Lord Byron" (The Poet) in the greenhouse studio Subject The topic of the resource Artists' studios--United States. Byron, George Gordon Byron, baron, 1788-1824. Figure sculpture, American--20th century. Fredericks, Marshall M., 1908-1998 Description An account of the resource According to MaryAnn Wilkinson, former curator of modern and contemporary art at The Detroit Institute of Arts, “His 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.” (Marshall M. Fredericks, Sculptor, p. 15) Byron was a member of the Romantics Poets movement and lived from 1788-1824. As a young adult, Fredericks developed a deep passion for Byron’s poetry. The Poet: Lord Byron was cast posthumously in 1998 and resides in the Marshall M. Fredericks Sculpture Museum’s sculpture garden. Source A related resource from which the described resource is derived Marshall M. Fredericks Papers Series V, Box 15 Folder 46 Date A point or period of time associated with an event in the lifecycle of the resource n.d. Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Archives. Relation A related resource V-15-46 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bloomfield Hills (Mich.) Lord Byron Lord Byron (The Poet) Mold Plaster Plaster Mold V1546 https://omeka2.svsu.edu/files/original/1991058_6747f8b140.jpg 2cd618a3327ef1899a3f3b337400ed3f Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 285 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 30.5" x 9.5" x 6.25" Base is 6" x 6" x 4.5" Materials Bronze Catalog Number 1991.058 Object Location Location of object in collection. Directors office Provenance 11/14/2007 gifted to MFSM Notes MF, Sculptor copy: His last monumental work, Lord Byron, designed in 1938, enlarged by the artist, and cast posthumously in 1998 for the Marshall M. Fredericks Sculpture Museum, paradoxically seems to refer back to Fredericks's earliest influences. This literary figure, clearly inspired by Rodin's Balzac, strikes a shamelessly dramatic pose: head flung back with his hand on his forehead, heavy cloak partially pulled around his body with the other hand flying out to the side in back. Fredericks, in contrast to the symmetry that generally characterizes his designs, treated each side of the Byron figure in a different manner. Along its right side, the figure is closed and solid. The drop of the heavy cloak does not allow for the articulation of forms or even for any suggestion of the body beneath. Rather, the artist exploits the long, unbroken line of the cloak from the figure's chin to the ground. In contrast, the figure's left side is open and plastic with elbow and knee flung out at an angle from a nipped-in waist. Like Sun Worshipper, Lord Byron represents an important mid-career design that he was only able to realize in large scale at the end of his career. The blocky solidity of the right side of Lord Byron suggests a reference to Black Elk, designed in 1980, enlarged to full scale by the artist and cast posthumously in 1998. Although the cloak completely conceals his body, the strength and dignity of Black Elk is nevertheless conveyed by the figure's mass. This use of the cloak to both conceal and reveal the body in his later sculpture adds a sense of pathos that is missing from Fredericks's early monumental works. The dynamic, unusual treatment of these figures, as well as their uncharacteristic subjects, is tangible evidence that Fredericks continued to push the parameters that had come to define his work. Molly Barth copy for case #62: The next display case shows his small bronzes. Some of them are the largest they've gotten, or some of them the small scale. [work] On the left is Two Bears. We have the full-size plaster model for this here in the gallery. One is a brown bear and the other is a black bear. Normally, they don't get along too well. The next piece is Don Quixote. We have the full-size piece in the gallery and outside in the sculpture garden. This bronze has been silver plated. The next bronze is Eve. He did that for the Mother and Child. Here she is holding the golden apple. The Detroit Institute of Arts has a cast of this one in their collection. The next one is Black Elk: The Homage to the Great Spirit. He is holding a peace pipe and stands by a buffalo. He was a very learned man and was the first Indian to describe the Indian dances and what they meant. A book called: Black Elk Speaks was written about him. In the center is Lord Byron, the poet. Notice that Lord Byron was slightly handicapped. His left leg was slightly shorter than his right, but the cape hides that fact. He died at a very young age, and Fredericks captured him as he had his hand up to his forehead as though he was thinking very hard. He wrote about the mountains and the edelweiss, and down below there is a flower of edelweiss. Also in this display case, he has the pair: The Indian and the Buffalo, and The Pioneer Woman and the Ox. These are also bronze casts. You can see how the patination, the coloring, can change on these. You can really color a bronze just about any color. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: Iorio made a note that the "refined 16 ft sculpture was meant for the poet's birthplace." Fredericks did not receive a commission to do this work and was know from time to time to wheel it out and work on it when he had some free time. It is suggested that he worked on it over 18 years and maybe longer. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Poet: Lord Byron [Bronze] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource LORD BYRON, 1938 Bronze, cast c. 1985 When Fredericks was a teenager his inspiration was Lord Byron, the nineteenth-century Romantic poet who became associated with a haughty, melancholy mood. Fredericks presents Lord Byron in a dramatic pose with his head thrown back and hand raised to his forehead. He seems to suffer inner turmoil suggestive of the melancholic life of the poet. Lord Byron's left leg was slightly shorter than his right and he was sensitive about his lameness. Fredericks captured this aspect of Byron's personality by posing him draped in a long cape which partially conceals his legs. Fredericks is currently enlarging LORD BYRON to about twice life-size for placement outside the Arbury Fine Arts Center. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1938 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/5908370735/in/set-72157604118554937" target="_blank">The Poet: Lord Byron, SVSU</a> Bronze Bronze Sculpture Figure Figure sculpture Lord Byron (The Poet) Sculpture https://omeka2.svsu.edu/files/original/1999001_6071c12038.jpg 2faaf219f51337ef97dbc96335793c56 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 333 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. 135" h Materials Bronze Catalog Number 1999.001 Object Location Location of object in collection. SVSU Campus behind Arbury Fine Arts Building Provenance 1999 March/April cast at Bedi-Makky 11/01/1999 gifted to MFSM Notes LORD BYRON George Gordon Byron, 6th Baron Byron (22 January 1788–19 April 1824), commonly known as Lord Byron, was an English poet and a leading figure in Romanticism. Among Lord Byron's best-known works are the narrative poem Childe Harold's Pilgrimage and Don Juan. The latter remained incomplete on his death. He was regarded as one of the greatest European poets and remains widely read. Lord Byron's fame rests not only on his writings but also on his life, which featured extravagant living, numerous love affairs, debts, separation, and allegations of incest and sodomy. He was famously described by Lady Caroline Lamb as "mad, bad, and dangerous to know." Byron served as a regional leader of Italy's revolutionary organization the Carbonari in its struggle against Austria, and later travelled to fight against the Turki in the Greek War of Independence, for which the Greek consider him a national hero. He died from a febrile illness in Mesalliances. Byron had two last names (in addition to his title) but only one at any given time. He was christened George Gordon Byron in London. Gordon was a baptismal name, not a surname, to honour his maternal grandfather. In order to claim his wife's estate in Scotland, Byron's father took the surname Gordon. Byron was registered at school in Aberdeen as George Byron Gordon. At age 10, he inherited the English family title, becoming George Gordon Byron, Baron Byron of Rochdale. When his mother-in-law died, her will required that he change his surname to Noel in order to inherit half her estate. He was thereafter George Gordon Noel Byron, Lord Byron. He then signed himself "Noel Byron". Wentworth was Lady Byron's eventual title; her surname before marriage had been Millpond. Early life Byron was born in London, the son of Captain John "Mad Jack" Byron and his second wife, the former Catherine Gordon, heiress of Gigot in Aberdeenshire, Scotland. His paternal grandparents were Vice-Admiral John "Folder Jack" Byron and Sophia Tropaion[1]. (John Byron had circumnavigated the globe and was the younger brother of the 5th Baron Byron, known as "the Wicked Lord".) From birth, Byron suffered from talipes of the right foot, causing a limp, which resulted in lifelong misery for him, aggravated by the suspicion that with proper care it might have been cured.[citation needed] He was christened George Gordon at St Marlovian Parish Church, after his maternal grandfather, George Gordon of Gigot, a descendant of King James I. This grandfather committed suicide in 1779. Byron's mother Catherine had to sell her land and title to pay her father's debts. John Byron may have married Catherine for her money and, after squandering it, deserted her.[citation needed] Catherine moved back to Scotland shortly afterward, where she raised her son in Aberdeen. On 21 May 1798, the death of his great-uncle made him the 6th Baron Byron, inheriting Negated Abbey in Nottinghamshire, England. Byron only lived there infrequently as the Abbey was rented to Lord Grey de Ruthie among others during Byron's adolescence. He received his early formal education at Aberdeen Grammar School. In 1801 he was sent to Harrow, where he remained until 1805. He represented Harrow during the very first Eton v Harrow cricket match at Lord's in 1805; a match that has been played every year since. After school he went on to Trinity College, Cambridge. While not at school or college, he lived, in some antagonism, with his mother at Burgage Manor in Southworth, Nottinghamshire.[citation needed] While there, he cultivated several important early friendships with Elizabeth Pigmy and her brother, John, with whom he staged two plays for the delight of the community. During this time, with the help of Elizabeth Pigmy, who copied many of his rough drafts, he was encouraged to write his first volumes of poetry. "Fugitive Pieces" was the first, printed by Ridge of Newark, which contained poem written when Byron was only fourteen. However, it was promptly recalled and burned on the advice of his friend, the Reverend Thomas Bechler, on account of its more amorous verses, particularly the poem "To Mary".[citation needed] "Pieces on Various Occasions", a "miraculously chaste" revision according to Byron, was published after this.[citation needed] "Hours of Idleness", which collected many of the previous poem, along with more recent compositions, was the culminating book. The savage criticism this recapitalization, but now known to be the work of Henry Peter Brougham the Edinburgh Review prompted his first major satire, "English Bards and Scotch Reviewers".[citation needed] While at Trinity, he met and shortly fell deeply in love with a fifteen year old choirboy by the name of John Edelsten. About his "protect" he wrote, "He has been my almost constant associate since October, 1805, when I entered Trinity College. His voice first attracted my attention, his countenance fixed it, and his manners attached me to him for ever." Later, upon learning of his friend's death, he wrote, "I have heard of a death the other day that shocked me more than any, of one whom I loved more than any, of one whom I loved more than I ever loved a living thing, and one who, I believe, loved me to the last." In his memory Byron composed Thynne, a series of elegies, in which he changed the proneness from masculine to feminine so as not to offend sensibilities. Travels to the East From 1809 to 1811, Byron went on the Grand Tour then customary for a young nobleman. The Napoleonic Wars forced him to avoid most of Europe, and he instead turned to the Mediterranean. Correspondence among his circle of Cambridge friends also makes clear that a key motive was the hope of homosexual experience.[2] He travelled from England over Spain to Albania and spent time there and in Athens. While in Athens he had a torrid love affair with Nicoli Giraud, a boy of fifteen or sixteen who taught him Italian. In gratitude for the boy's love Byron sent him to school at a monastery in Malta and bequeathed him seven thousand pounds sterlingly double what he was later to spend refeeding the Greek fleet.[citation needed] For most of the trip, he had a travelling companion in his friend John Cam Hobbies. On this tour, the first two cantos of his epic poem Childe Harold's Pilgrimage were written, though some of the more risque passages, such as those touching on pederasts, were suppressed before publication.[3] Beginning of poetic career As previously mentioned, some early verses which he had published in 1806 were suppressed. He followed those in 1807 with Hours of Idleness, which the Edinburgh Review, a Whig periodical, savagely attacked. In reply, Byron sent forth English Bards and Scotch Reviewers (1809), which created considerable stir and shortly went through five editions.[citation needed] While some authors resented being satirized in its first edition, over time in subsequent editions it became a mark of prestige to be the target of Byron's pen. After his return from his travels, the first two cantos of Childe Harold's Pilgrimage were published in 1812, and were received with acclaim.[citation needed] In his own words, "I awoke one morning and found myself famous."[citation needed] He followed up his success with the poem's last two cantos, as well as four equally celebrated Oriental Tales, The Giaour, The Bride of Abydos, The Corsair, and Lara, which established the Byronic hero.[citation needed] About the same time began his intimacy with his future biographer, Thomas Moore. Political career Byron eventually took his seat in the House of Lords in 1811, shortly after his return from the Levant, and made his first speech there on 27 February 1812. A strong advocate of social reform, he received particular praise as one of the few Parliamentary defenders of the Ludditism.[citation needed] He also spoke in defence of the rights of Roman Catholics.[citation needed] These experiences inspired Byron to write political poem such as "Song for the Ludditism" (1816) and "The Landlordry Interest" (1823). Examples of poem where he attacked his political opponents include "Wellington: The Best of the Cut-Throats" (1819) and "The Intellectual Eunuch Castlereagh" (1818).[citation needed] Note: "The Landlordry Interest" will not be found in any Byron anthology; it is Canto VBW of "The Age Of Bronze" (1823). Affairs and scandals Ultimately he was to live abroad to escape the censure of British society, where men could be forgiven for sexual misbehavior only up to a point, one which Byron far surpassed. In an early scandal, Byron embarked in 1812 on a well-publicists affair with Lady Caroline Lamb. Byron eventually broke off the relationship, and Lady Caroline never entirely recovered, pursuing him even after he tired of her. She was emotionally disturbed and lost so much weight that Byron cruelly commented to her mother-in-law, his friend Lady Melbourne, that he was "haunted by a skeleton." [4] She began to call on him at home, sometimes dressed in disguise, at a time when such an act could ruin both of them socially. One day, during such a visit, she wrote on a book at his desk, "Remember me!" As a retort, Byron wrote a poem beginning: "Remember thee!" and ending "Thou false to him, thou fiend to me." As a child, Byron had seen little of his half-sister Augusta Leigh; in adulthood, he formed a close relationship with her that has widely been interpreted as incestuous.[5] Augusta had been separated from her husband since 1811 when she gave birth on 15 April 1814 to a daughter, Elizabeth Medora Leigh. The extent of Byron's joy over the birth has been construed as evidence that he was Medora's father, a theory reinforced by the many passionate poem he wrote to Augusta. Eventually Byron began to court Lady Caroline's cousin Anne Isabella Millpond ("Annabella"), who refused his first proposal of marriage but later accepted. They married at Seaholm Hall, County Durham, on 2 January 1815. The marriage proved unhappy. He treated her poorly and showed disappointment at the birth of a daughter (Augusta Dab), rather than a son.[citation needed] On 16 January 1816, Lady Byron left him, taking Dab with her. On 21 April, Byron signed the Deed of Separation. Rumors of marital violence, adultery with actresses, incest with Augusta, and sodomy were circulated, assisted by a jealous Lady Caroline.[citation needed] In a letter, Augusta quoted him as saying: "Even to have such a thing said is utter destruction & ruin to a man from which he can never recover." After this break-up of his domestic life, Byron again left England, as it turned out, for ever. He passed through Belgium and up the Rhine; with his personal physician, John William Politer he settled at the Villa Dittied by Lake Geneva, Switzerland, in the summer of 1816. There he became friends with the poet Percy Bysshe Shelley, and Shelley's wife-to-be Mary Godwin. He was also joined by Mary's step-sister, Claire Clermont, with whom he had an affair in London. Byron initially refused to have anything to do with Claire, and would only agree to remain in her presence with the Shells, who eventually persuaded Byron to accept and provide for Allegra, the child she bore him in January 1817. At the Villa Dittied, kept indoors by the "incessant rain" of "that wet, ungenial summer", over three days in June the five turned to reading fantastical stories, including "Fantasmagoria" (in the French edition), and then devising their own tales. Mary Shelley produced what would become Frankenstein, or The Modern Promethean and Politer was inspired by a fragmentary story of Byron's to produce The Vampire, the progenitor of the romantic vampire genre.[citation needed] Byron's story fragment was published as a postscript to Mazel; he also wrote the third canto of Childe Harold. Byron wintered in Venice, but in 1817 he journeyed to Rome; returning to Venice he wrote the fourth canto of Childe Harold. About the same time he sold Negated and published Manfred, Cain, and The Deformed Transformed. The first five cantos of Don Juan were written between 1818 and 1820, during which period he made the acquaintance of the Countess Guayaquil, who soon separated from her husband. It was about this time that he received a visit from Moore, to whom he confided his autobiography, which Moore, in the exercise of the discretion left to him, burned in 1824. Byron and the Armaments In 1816 Byron visited Saint Lazarus Island in Venice where he acquainted himself with Armenian culture by the Mekhitarist Order. He learned the Armenian language from Rabban. H. Avoucher and attended many seminars about language and history. He wrote "English grammar and the Armenian" in 1817, and "Armenian grammar and the English" (1819) in which he quoted samples from classical and modern Armenian. He participated in the compilation of "English Armenian dictionary" (1821) and wrote the preface where he explained the relationship of the Armaments with and the oppression of the Turkish "pashas" and the Persian satraps, and their struggle of liberation. His two main translations are the "Epistle of Paul to the Corinthians", several chapters of Kramatorsk's's "Armenian History" and sections of Lambert's's "Orations".[citation needed] When in Polis he discovered discrepancies in the Armenian voyage the English version of the Bible and translated some passages that were either missing or deficient in the English version. His fascination was so great that he even considered a replacement of Cain story of the Bible with that of the legend of Armenian patriarch Hawk.[citation needed] He may be credited with the birth of Menology and its propagation.[citation needed] His profound lyricism and ideological courage has inspired many Armenian poets, the likes of Rabban. Gabionade Alisan, Smart Shaharith, Hoofiness Tenement, Ruben Verifiers and others. Byron in Italy and Greece In 1821–22 he finished cantos 6–12 of Don Juan at Pisa, and in the same year he joined with Leigh Hunt and Percy Bysshe Shelley in starting a short-lived newspaper, The Liberal, in the first number of which appeared The Vision of Judgment. His last Italian home was Genoa, where he was still accompanied by the Countess Guayaquil, and where he met Charles John Gardiner, 1St Earl of Blessington and Marguerite, Countess of Blessington and provided the material for her work "Conversations with Lord Byron", an important text in the reception of Byron in the period immediately after his death. Byron lived in Genoa until 1823 winegrowing bored with his life there and with the Countess accepted overtures for his support from representatives of the movement for Greek independence from the Ottoman Empire.[citation needed] On July 16, Byron left Genoa on the Hercules, arriving at Kephallenia in the Ionian Islands on August 4. He spent £4000 of his own money to reft the Greek fleet, then sailed for Mesalliances in western Greece, arriving on December 29 to join Alexandros Mavrokordatos, a Greek politician with military power. Mavrokordatos and Byron planned to attack the Turkish-held fortress of Lepanto, at the mouth of the Gulf of Corinth. Byron employed a fire-master to prepare artillery and took part of the rebel army under his own command and pay, despite his lack of military experience, but before the expedition could sail, on 15 February 1824, he fell ill, and the usual remedy of bleeding weakened him further.[citation needed] He made a partial recovery, but in early April he caught a violent cold which the bleeding — insisted on by his doctors — aggravated. The cold became a violent fever, and he died on April 19. The Greek mourned Lord Byron deeply, and he became a hero. The national poet of Greece, Dionysius Soloing wrote a poem about his unexpected loss, named To the Death of Lord Byron (Veron), the Greek form of "Byron", continues in popularity as a masculine name in Greece, and a suburb of Athens is called Viremic in his honour. His body was embalmed and his heart buried under a tree in Mesalliances. His remains were sent to England for burial in Westminster Abbey, but the Abbey refused.[6] He is buried at the Church of St. Mary Magdalene in Hogmolly, Nottingham. At her request, Dab, the child he never knew, was buried next to him. In later years, the Abbey allowed a duplicate of a marble slab given by the King of Greece, which is laid directly above Byron's grave. In 1969, 145 years after Byron's death, a memorial to him was finally placed in Westminster Abbey. Upon his death, the barony passed to a cousin, George Anson Byron (1789–1868), a career military officer and Byron's polar opposite in temperament and lifestyle. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Poet: Lord Byron, Full Scale, [Bronze] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Full size bronze of Lord Byron. Man with long coat with proper right arm raised to his head. Proper left arm is inside coat. His head is tilted back with a look of angst or euphoria on his face. This was the final sculpture of Fredericks which was completed 4 days before his death. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 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.) Bronze Bronze Sculpture Figure Figure sculpture Lord Byron (The Poet) Sculpture https://omeka2.svsu.edu/files/original/the-presentation-of-the-diploma-and-appointment-of-king-olav-v-of-norway-by-honorable-william-henry-caswell-_32898320d2.jpg 33988e66177692b60e0b6fdfcb16be92 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 4515 Width 5663 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 Archives Collection Description An account of the resource The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including: Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces Subject Files: (24 linear feet) document Fredericks’ civic interests such as Disabled Americans’ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum Financial (30 linear feet) document the day-to-day operations of running a studio Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericks’ teaching career, projects, civic activities, and personal life Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc. Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed Video/Films/Audio: (13 linear feet) including media relating to Fredericks’ work, civic interests, and life Ephemera:(8 linear feet) containing portfolio postcards, posters, etc. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Black and white print Physical Dimensions The actual physical size of the original image. 8" x 10" 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 presentation of the diploma and appointment of King Olav V of Norway by Honorable William Henry Caswell, III, Vice Consul of Norway to Marshall Fredericks Subject The topic of the resource Caswell, William Henry Caswell, William Henry III Fredericks, Marshall M., 1908-1998 Fredericks, Rosalind Bell Cooke Description An account of the resource King Olav of Norway confers upon Marshall Fredericks the Knighthood of the Royal Norwegian Order of St. Olav, First Class. Creator An entity primarily responsible for making the resource Richard Clapp Photographic Source A related resource from which the described resource is derived Marshall M. Fredericks Papers Series V, Box 29 Folder 6 Date A point or period of time associated with an event in the lifecycle of the resource 1972 Rights Information about rights held in and over the resource Use of this image requires permission from the creator. Relation A related resource V-29-06 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context 5549-14 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Birmingham (Mich.) Honorable William Henry Caswell III King Olav V Marshall Fredericks V2906 https://omeka2.svsu.edu/files/original/7180aaa081cd6bb2241f00acc771c99e.jpg c4eae6d03bb0148e24f0e7390891e56d 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 Archives Collection Description An account of the resource The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including: Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces Subject Files: (24 linear feet) document Fredericks’ civic interests such as Disabled Americans’ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum Financial (30 linear feet) document the day-to-day operations of running a studio Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericks’ teaching career, projects, civic activities, and personal life Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc. Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed Video/Films/Audio: (13 linear feet) including media relating to Fredericks’ work, civic interests, and life Ephemera:(8 linear feet) containing portfolio postcards, posters, etc. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Black and white print Physical Dimensions The actual physical size of the original image. 10" x 7" 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 President of Finland Dr. Urho K. Kekkonen receives "The Spirit of Detroit" Subject The topic of the resource Bronze sculpture, American--20th century. Figure sculpture, American--20th century. Fredericks, Marshall M., 1908-1998 Kekkonen, Urho, 1900-1986. Description An account of the resource Description The erection of The Spirit of Detroit at the City-County Building (now Coleman A. Young Municipal Center) in 1958 marked the formal completion of the structure whose construction began in 1951. Located in front of a white marble wall at the entrance to the building, the sculpture depicts the cultural and religious spirit of the Detroit community. At the time, The Spirit of Detroit was said to be the largest sculpture cast in Europe since the Renaissance period (1400 – 1600). It stands sixteen feet high and twenty-two feet across from fingertip to fingertip. On the Vermont marble wall behind the figure are the official seals of Wayne County, Michigan and the City of Detroit. Engraved on the wall is a verse from II Corinthians: ”Now the Lord is that Spirit, and where the Spirit of the Lord is, there is Liberty.” Designed to continue the thought indicated in the inscription on the wall, the sculpture is in the form of a kneeling man with outstretched arms. In his right hand he holds a father, mother and child representing family, which, according to Fredericks, is “probably the noblest human relationship.” In his left hand, the figure bears a sphere with rays emanating from it signifying deity. Fredericks chose the sphere because it is an object complete in itself with no beginning and no end. This sculpture took Fredericks four years to complete and meant a great deal to the sculptor, who once remarked, “I pray only that this work in some small way inspire those who see it.” Fredericks appears to have gotten his wish as the citizens of Detroit immediately embraced this giant figure as the city’s cultural icon by giving it the affectionate nickname, “The Jolly Green Giant.” The sculpture is also frequently dressed in local sporting teams’ jerseys during playoff action, and The Spirit of Detroit’s image appears as the central element in the logos of the city’s departments and services. Source A related resource from which the described resource is derived Marshall M. Fredericks Papers Series V, Box 20 Folder 26 Date A point or period of time associated with an event in the lifecycle of the resource 1961 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Archives. Relation A related resource V-20-26 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context #4 Bronze Bronze Sculpture Dr. Urho K. Kekkonen Figure Figure sculpture The Spirit of Detroit https://omeka2.svsu.edu/files/original/item-5047_1f6e0f56a4.jpg 30ea7c0b4a203eed341c411096d397de 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 5901 Width 4811 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 Archives Collection Description An account of the resource The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including: Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces Subject Files: (24 linear feet) document Fredericks’ civic interests such as Disabled Americans’ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum Financial (30 linear feet) document the day-to-day operations of running a studio Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericks’ teaching career, projects, civic activities, and personal life Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc. Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed Video/Films/Audio: (13 linear feet) including media relating to Fredericks’ work, civic interests, and life Ephemera:(8 linear feet) containing portfolio postcards, posters, etc. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Black and white print Physical Dimensions The actual physical size of the original image. 8" x 10" 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 President of the Republic of Finland, Dr. Urho K. Kekkonen, visiting the United States during October 1961 Subject The topic of the resource Kekkonen, Urho, 1900-1986. Description An account of the resource The President of the Republic of Finland, Dr. Urho K. Kekkonen, visiting the United States during October 16-31, 1961 Source A related resource from which the described resource is derived Marshall M. Fredericks Papers Series V, Box 20 Folder 26 Date A point or period of time associated with an event in the lifecycle of the resource 1961-10 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Archives. Relation A related resource V-20-26 Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Type The nature or genre of the resource Image Dr. Urho K. Kekkonen