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A circle of American women sculptors achieved recognition during the nineteenth century in the United States and abroad, receiving commissions for public sculpture and patronage from private parties. Among these artists, (Mary) Edmonia Lewis, Vinnie Ream Hoxie, Harriet Goodhue Hosmer, and Sarah Fisher (Clampitt) Ames were particularly notable. Trained in the neoclassical style, these American sculptors were drawn to Rome, where they studied and were inspired by the ancient classical art and international art community. In turn, they established studios, convenient to both Italian craftsmen who could serve as assistants and to marble stone quarries. Women sculptors were welcomed into Rome’s expatriate community, which in the 1850s included nearly forty active American artists, both male and female. The artists often held open houses at their studios, frequented by visitors to the city, including Ulysses S. Grant, Frederick Douglass, and Henry Wadsworth Longfellow, all of whom Edmonia Lewis portrayed during their stay.
Harriet Goodhue Hosmer (1830–1908) by Sir William Boxall (1800–1879), oil on canvas, 1857. National Portrait Gallery, Smithsonian Institution, Washington, D.C. (NPG.95.6) |
Edmonia Lewis (1844–after 1909) by Henry Rocher (1824–?), albumen silver print, c. 1870. National Portrait Gallery, Smithsonian Institution, Washington, D.C. (NPG.94.95) |
Artists who lived abroad also maintained cultural and political ties with the United States, returning for visits and commissions. Some eventually returned to settle in America. Edmonia Lewis was the first recognized professional African American female sculptor. She created sculptures of the leading figures of the abolitionist and suffragist groups and of Civil War heroes, such as John Brown, Maria Weston Chapman, Frederick Douglass, Abraham Lincoln, Wendell Phillips, Colonel Robert Gould Shaw, Charles Sumner, and Anna Quincy Waterson. Sculptor Sarah Fisher Ames was an antislavery advocate and a nurse, responsible for a temporary hospital established in the U.S. Capitol in Washington, D.C., during the Civil War. Through her activities, she met Abraham Lincoln, which likely led to formal sittings with him, where she made sketches and possibly modeled his features. She created at least five busts of the president. In 1868, the Joint Committee on the Library purchased Ames’s marble Lincoln bust for the U.S. Capitol; institutions in Massachusetts and Pennsylvania acquired the remaining busts. Ames later created a sculpted bust of Ulysses S. Grant, which was exhibited at the 1893 Chicago World’s Columbian Exposition.
Vinnie Ream Hoxie (1847?–1914) by an unidentified artist, melainotype, c. 1875. National Portrait Gallery, Smithsonian Institution, Washington, D.C. (NPG.78.112) |
Vinnie Ream Hoxie also created a series of portraits of President Lincoln. In 1866 the secretary of the interior commissioned her to create a full-length marble statue of the late president, which was installed in the Capitol Rotunda in 1871. She had previously created a bust of Lincoln from a life sitting in Washington. Her selection for the commission was a result of a heated debate in the Congress. Her opponents were critical of her youth and inexperience. Sarah Fisher Ames also made a bust of Lincoln that received favorable comments. Both works are testimonies of these talented artists’ interpretation of Lincoln as a leader and as an important symbol of freedom. Each portrayed Lincoln in a neoclassical style, emphasizing his humanity and solemnity of purpose. They were the first sculptors to create official commemorative images of him for the U.S. Capitol, representing the principles of the newly united nation. Hoxie also created statues of Samuel Jordan Kirkwood and Sequoyah for the Capitol’s National Statuary Hall Collection.
Ames, Lewis, Hoxie, and Hosmer all exhibited their sculptures at the 1893 Chicago World’s Columbian Exposition, which brought them further recognition. At times, this circle of women sculptors faced criticism from the public and male artists. They had to maintain a fine balance from what was expected of a Victorian woman in her dedication to family and home and their ambitions to compete in a male profession. However, this group of progressive women broke new ground for the next generation of female artists, including Anna Hyatt Huntington, Malvina Hoffman, Evelyn Longman, and Bessie Potter Vonnoh.
In 1966, the Smithsonian’s National Portrait Gallery founded the Catalog of American Portraits (CAP), a national portrait archives of historically significant subjects and artists from the colonial period to current times. The public is welcome to access the online portrait search program from the museum website of over 100,000 records. The CAP program can be reviewed at the following National Portrait Gallery website: http://www.npg.si.edu/research/ceros.html.
Patricia H. Svoboda, Research Coordinator
Websites:
Tolles, Thayer. “American Women Sculptors.” In Heilbrunn Timeline of Art History. New York: Metropolitan Museum of Art, 2000–10. http://www.metmuseum.org/toah/hd/scul/hd_scul.htm
Nichols, Kathleen L. “International Women Sculptors: 1893 Chicago World’s Fair and Exposition.” Posted 2002; updated 2015. http://arcadiasystems.org/academia/cassatt4.html
Abraham Lincoln (1809–1865) by Sarah Fisher Ames (1817–1901) marble, 1868. U.S. Capitol, Washington, DC (21.0013.000). http://www.senate.gov/artandhistory/art/artifact/Sculpture_21_00013.htm
Abraham Lincoln (1809–1865) by Vinnie Ream Hoxie (1847?–1914), marble, 1871. U.S. Capitol, Washington, DC. http://www.aoc.gov/capitol-hill/other-statues/abraham-lincoln-statue
Henry Wadsworth Longfellow (1807–1882) by Edmonia Lewis (1844–after 1909), marble, 1871. Harvard University Portrait Collection, Cambridge (S52). http://www.harvardartmuseums.org/art/303587
Thomas Hart Benton (1782–1858) by Harriet Goodhue Hosmer (1830–1908), bronze, 1868. Lafayette Park, Saint Louis. https://www.stlouis-mo.gov/government/departments/parks/parks/browse-parks/view-park.cfm?parkID=52&parkName=Lafayette%20Park
Bibliography:
Buick, Kirsten Pai. “Mary Edmonia Lewis: The Biography of a Career, 1859–1876.” Ph.D. dissertation, University of Michigan, 1999.
Dabakis, Melissa. A Sisterhood of Sculptors: American Artists in Nineteenth-Century Rome. University Park: Pennsylvania State University Press, 2014.
James, Edward T. et al. Notable American Women, 1607–1950: A Biographical Dictionary. Cambridge: Belknap Press of Harvard University Press, 1971.
Weimann, Jeanne Madeline. Introduction by Anita Miller. The Fair Women. Chicago: Academy Chicago, 1981.
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