DOI Heft:
Nr. 230 (April 1916)
DOI Artikel:An american sculptor: Cyrus E. Dallin
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43461#0166
All American Sculptor: Cyrus E. Dallin
heads. These so delighted the miners that they
spread the story of his genius far and near. It
happened that there was soon to be a sort of
country fair in Salt Lake City, and the heads
three years of study to Paris. He entered the
atelier of Jean Dampt that he might gain a
greater mastery of technique. It was during
this period that he modelled his 'now famous
were sent there for
exhibition. Two
wealthy men became
so interested in the
boy’s evident talent
that they raised money
to send him to Boston,
where he began his
art studies writh
Trueman H. Bartlett,
paying for his tuition
by work in the sculp-
tor’s studio. At the
end of a year he went
to Quincy, Massa-
chusetts, and worked
for Sidney H. Morse.
When twenty-one he
began to receive so
many orders for his
own work that he de-
cided to take a small
studio in Boston. He
remained here about
six years, labouring
with uninterrupted
industry.
From this time on
his progress has been
a continual triumph,
beginning with the
gold medal voted him
in 1888 by the artists
of New York for his
Indian Hunter. He
was now sufficiently
“established” to go
abroad for two years
and study in Paris.
Here he modelled the
Signal of Peace which
received a medal at
the Columbian World’s
Exposition and was
purchased for the City
of Chicago by Judge
Lambert Tree. After his
“the warrior”
BY CYRUS E. DALLIN
return to America and
the character of the true
Medicine Man, which
was purchased in
1903 by the Fair-
mont Park Association
of Philadelphia. At its
unveiling the Indian
La Fiesche, a pupil of
Hampton College, ex-
plained its meaning:
“ The prophets and
priests, termed in
Indian language the
Men of Mystery, were
called by Europeans
‘Medicine Men.’
The entire life of the
Medicine Man was
devoted to his calling.
His fasts were frequent
and his mind was
occupied in contem-
plating the super-
natural. His services
were needed when
children were dedi-
cated to the Great
Spirit; for the instal-
lation of chiefs; for
councils of war. . . .
Travellers believed
that a very different
character, a so-called
‘ Healer,’ whom intel-
ligent Indians held in
contempt, was the real
Medicine Man, to the
serious misunderstand-
ing of the religious
beliefs of my race. . . .
I cannot discuss from
the standpoint of an
artist the work of your
sculptor, but in the ex-
pression, the dignified
bearing, the strength
of pose, I recognise
Medicine Man—he who
his marriage to Vittoria Colonna Murray, of
Boston, he spent three years with his wife in Utah,
working from Indian models, then went for another
was the mediator between his people and the Great
Spirit. . . . This artist has been gifted with the
imagination to discern the truth which underlies a
110
heads. These so delighted the miners that they
spread the story of his genius far and near. It
happened that there was soon to be a sort of
country fair in Salt Lake City, and the heads
three years of study to Paris. He entered the
atelier of Jean Dampt that he might gain a
greater mastery of technique. It was during
this period that he modelled his 'now famous
were sent there for
exhibition. Two
wealthy men became
so interested in the
boy’s evident talent
that they raised money
to send him to Boston,
where he began his
art studies writh
Trueman H. Bartlett,
paying for his tuition
by work in the sculp-
tor’s studio. At the
end of a year he went
to Quincy, Massa-
chusetts, and worked
for Sidney H. Morse.
When twenty-one he
began to receive so
many orders for his
own work that he de-
cided to take a small
studio in Boston. He
remained here about
six years, labouring
with uninterrupted
industry.
From this time on
his progress has been
a continual triumph,
beginning with the
gold medal voted him
in 1888 by the artists
of New York for his
Indian Hunter. He
was now sufficiently
“established” to go
abroad for two years
and study in Paris.
Here he modelled the
Signal of Peace which
received a medal at
the Columbian World’s
Exposition and was
purchased for the City
of Chicago by Judge
Lambert Tree. After his
“the warrior”
BY CYRUS E. DALLIN
return to America and
the character of the true
Medicine Man, which
was purchased in
1903 by the Fair-
mont Park Association
of Philadelphia. At its
unveiling the Indian
La Fiesche, a pupil of
Hampton College, ex-
plained its meaning:
“ The prophets and
priests, termed in
Indian language the
Men of Mystery, were
called by Europeans
‘Medicine Men.’
The entire life of the
Medicine Man was
devoted to his calling.
His fasts were frequent
and his mind was
occupied in contem-
plating the super-
natural. His services
were needed when
children were dedi-
cated to the Great
Spirit; for the instal-
lation of chiefs; for
councils of war. . . .
Travellers believed
that a very different
character, a so-called
‘ Healer,’ whom intel-
ligent Indians held in
contempt, was the real
Medicine Man, to the
serious misunderstand-
ing of the religious
beliefs of my race. . . .
I cannot discuss from
the standpoint of an
artist the work of your
sculptor, but in the ex-
pression, the dignified
bearing, the strength
of pose, I recognise
Medicine Man—he who
his marriage to Vittoria Colonna Murray, of
Boston, he spent three years with his wife in Utah,
working from Indian models, then went for another
was the mediator between his people and the Great
Spirit. . . . This artist has been gifted with the
imagination to discern the truth which underlies a
110