Out of Rushmore's Shadow: The Artistic Development of Gutzon Borglum
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Stamford Museum and Nature Center
Stamford, CT
203.322.1646
Out of Rushmore's Shadow: The Artistic
Development of Gutzon Borglum
"O
ut of Rushmore's Shadow: The
Artistic Development of Gutzon Borglum" will be on exhibit at the Stamford
Museum & Nature Center through February 20, 2000. The exhibition is
a major retrospective on the work of Gutzon Borglum, best known for the
carving of the presidential portraits on Mount Rushmore, South Dakota.
The exhibition's logo, "The road to Rushmore goes
through Stamford," underscores the years that Borglum resided in Stamford,
Connecticut and created some of his most important works in the studio he
built there. At the core of the exhibition is the museum's Borglum collection,
including recent acquisitions. Other artwork, photography and memorabilia
are on loan from museums and private collectors throughout the country.
These include
Mission San Juan Capistrano
,
California; San Antonio Museum, Texas; the Borglum Historical Center, South
Dakota,
Irvine Museum
, California, and
R. W. Norton Art Gallery
, Shreveport,
Louisiana.
Borglum,
the man behind the artist, comes to life, not only in his works but in the
narrative of the exhibition and the essays in the catalogue. Mary Donohue,
of the Connecticut Historical Commission, says in her essay, "...He
counted American presidents, inordinately wealthy industrialists, and members
of society's elite as friends and patrons." The exhibition analyzes
the artist's career by dividing it into basically four phases: Californian,
Rodin-inspired, monumental, and colossal. It illustrates the changing artistic,
historical, cultural, and philosophical nature of Borglum's career. it shows
the artist's choice of his subjects and style in relationship to his environment,
his chance encounters with inspiring masters, political crisis, and the
prevailing trends of his day. Borglum's granddaughter Robin Carter quotes
his philosophy on creating, "The reason for building any work of art
can only be for the purpose of fixing in some durable form a great emotion,
or a great idea, of the individual, or the people."
(left:
I
have Piped Unto You and Ye Have Not Danced
, c. 1910, marble, SMNC, Pierre
Dupuy)
Supporting the exhibition is a full color catalogue featuring
seven-annotated essays on different aspects of Borglum's life and works,
with an illustrated checklist of the exhibition's contents.
Children will find the Mini Gallery filled with ideas for
projects by age level, such as locating Borglum's horse paintings and identifying
them, studying portraits and making a self portrait, discovering the use
of scale and ways to enlarge or reduce features.
The museum's collection of Borglum's artworks is the second
largest in the country. Most of them came from the artist's estate. Because
of their poor condition, they had not been seen by the public in many years.
Thanks to widespread community support, the museum arranged to have these
pieces restored to their original condition. It was agreed by the Borglum
family, who appreciated the tremendous research and effort to restore these
pieces, that the collection should remain at the Stamford Museum & Nature
Center to serve as an important resource center on the artist's work.
Rosa Portell, the Stamford Museum & Nature Center's
curator of collections, organized this exhibition and is one of the country's
leading authorities on Gutzon Borglum. Last summer, Ms. Portell attended,
by invitation of the Borglum family, the dedication of the Hall of Records
at Mount Rushmore's National Memorial. In attendance at the dedication were
members of the Borglum family, federal, state and local officials and other
dignitaries.
Following are script excerpts by Rosa Portell, Curator
of Collections, Stamford Museum and Nature Center which serve as an excellent
biography of the artist:
From California to Mount Rushmore: A Half Century of
Change
"Gutzon Borglum's artistic career covers more than
half a century. Born shortly after the Civil War, he witnessed his country's
transformation from a young nation struggling with its identity into a world
power with a decisive role to play in international affairs. In many ways,
his art reflects this transformation...In his Stamford days (1910-1920),
however, Borglum was to reach a perfect balance between the artist and the
statesman. Ever involved, his public life affected his art in subject matter
and even in style. Leaving his "pipe dreams" behind, his work
became strongly nationalistic and ideological, reflecting increasingly larger
concepts of the nation and of its new role in the world. From then on, in
his relentless pursuit of all-American themes and styles Borglum would follow
a path entirely of his own making, a unique path that leads step-by-step
to Mount Rushmore."
The Dream of California
"In 1884 seventeen-year old Gutzon Borglum moved from
Nebraska to California with his family, determined to become an artist.
The Borglums wanted to share in the excitement of the California of the
1880s. Thanks to the completion of the transcontinental railway, California
was teeming with activity and competing with other areas of the United States
in trade, population, and culture.
Influenced by his fellow-artists
William
Keith
, Virgil Williams, and Elizabeth Jaynes Putnam - whom he would
eventually marry -- Borglum's early works depicted the state's landscape
and subjects in a romanticized way. In doing so he reflected the view of
California as a paradise at the end of the trail, which the state was proudly
promoting to the rest of the nation. California's artists were contributing
to the propagation of this image through their art..."
Land of Sunshine
One of the main promoters of the exalted view of California
and the West was
The Land of Sunshine
, a magazine edited by Charles
Lummis. Artists were included in its editorial board and played an important
role in shaping its content. Borglum's contributions started in 1895. He
also redesigned its cover. The magazine's contributors saw themselves as
members of an important cultural center that was emerging as an alternative
to the well-established ones in Boston, New York, and Philadelphia They
portrayed their art and their writing as closer to nature and to the land
than those of the older American cities and, being further removed from
European models, more American.
The magazine's slogan,
The Land of Sunshine Expands
One's Soul
, was in Spanish The use of this language symbolized the intellectuals'
embrace of the state's colonial heritage as a unique source of tradition,
history, and colorful imagery."
The Spanish Missions and the Image of California
"mportant elements in the visual definition of California
were the missions built all over the state by Spanish friars in the 18th
and 19th centuries. Their ruinous condition gave them a romantic appeal
in tune with Victorian imagery. However, by the late 1800s some were almost
completely lost and an effort was made to restore them...Borglum insisted
on having a role in this project, claiming that a recent trip to Spain made
him uniquely qualified for the task."
(See
Resource Library Magazine's
article
Mission San Juan Capistrano: An Artistic Legacy.
:
- Mission San Juan Capistrano
,
1895, Elizabeth Borglum, 1848-1922,
Oil on canvas, 35 x 28 inches
- Sheep Grazing, Mission
Capistrano
,
1897, John Gutzon Borglum 1867-1941, Oil on canvas, 27 x 35 inches
- Mission San Juan Capistrano,
1894, Fred Behre and John Gutzon Borglum,
Watercolor and gouache, 29 3/4 x 39 1/2 inches)
The West As an Ideal
"
To
his highly idealized landscapes Borglum sometimes added picturesque Western
elements, such as the stagecoach. These images, relatively new at the time,
were destined to become part of America's basic iconography. From the late
1800s on "The West" would be interpreted as reflecting values
of resilience, bravery, and self-reliance, which were seen as desirable
and quintessentially American...
(left:
Runnin' Out the Storm
,
c. 1896, oil on canvas, Courtesy of the San Antonio Museum of Art, Texas)
Borglum shared the field of Western sculptures with his younger
brother
Solon
H. Borglum
, who also excelled in them. They were to have a complex
relationship in which brotherly cooperation mixed occasionally with artistic
rivalry."
The Old Continent's Seal of Approval
"In 1889 Borglum and his wife,
Lisa
,
traveled to Paris in search of academic training and to test their standing
at the famous Paris Salons, or annual exhibitions. Several of his works
were accepted to the 1891 and the 1892 Salons. Lisa, in turn, took part
in the 1892 Columbus Centennial Exhibition in Spain.
In Paris, however, competition was intense and fortune
elusive. A return trip to California proved to be ill-timed, as the state
was in the threes of a serious financial depression. In 1896 Gutzon and
Lisa went back to Europe, this time to London. There he worked as an illustrator
and avidly sought patrons.
At first Borglum and Lisa saw themselves as equals in artistic
merit and recognition. However, as Gutzon's skills increased he grew restless.
The needs of their respective careers and other personal differences drew
them apart. By 1901 the marriage was to all effects ended, although they
would not divorce until 1908."
Rodin: A Fateful Encounter
"In Paris Borglum was to experience the most important
artistic transformation of his career, It did not result from his formal
academic studies at the École des Beaux-Arts and the Académie
Julian, but through contact with the great French sculptor Auguste Rodin...
Rodin's style defied definition, connecting with movements as diverse as
realism, impressionism, symbolism, and even expressionism. What most attracted
Borglum was the French master's symbolism, a movement in literature and
art that grew in part as a reaction to the materialism of the time. Rodin's
works were meant to reflect the spirit of the person or place rather than
their physical characteristics. As a consequence, they were radically different
from those of his contemporaries
."
Borglum's Break with Modernism: The Armory Show
"Upon his return to America in 1901 Borglum could
not wait to spread the word about Rodin's new, modern art formulas. Impatient
and argumentative, it did not take him long to feud with what he considered
to be "the old guard." No sooner invited to join the National
Sculpture Society, he resigned from it after a nasty dispute.
Echoing the creative disagreements he had witnessed in
Paris between the "old" and the "new" Salons, he felt
that young artists were stifled by the old art establishment. Thus, he was
to have a key role in the creation of what he saw as its more modern and
democratic alternative, the Association of American Painters and Sculptors.
One of his main contributions was to help with the organization of the Armory
Show.
Having spent a great deal of effort to ensure the exhibition's
success, Borglum was deeply disturbed by the show's selection criteria.
Considered by many to be a key moment in the introduction of modernism in
America, the 1913 Armory Show put so much emphasis on avant-garde works
that the more traditional artists appeared by contrast old-fashioned and
provincial. Borglum promptly resigned from the Association claiming that
it had strayed from its original course."
"I Built My Soul a Home": Gutzon's and Mary's
Borgland
"
The
acquisition of
Borgland
, his Stamford property, in 1910 gave the
artist a sense of success and accomplishment. He set about improving it
by building an enormous studio made of local granite. It included a huge
fireplace and was big enough to accommodate his ever-larger works. Local
laborers were recruited to pose for him and the town was soon full of rumor
and gossip about the famous new resident.
(left: Gutzon Borglum discussing
the construction of his Stamford studio (c. 1910), Courtesy of Mary Borglum
Vhay)
By all accounts the Stamford years were among the happiest
for Gutzon and Mary, especially after the births of their children, Lincoln
and Mary Ellis. Their hospitality was legendary and
Borgland
was
to welcome a steady stream of dignitaries, young artists, writers, and performers."
Public Heroes, Public Monuments
"Although Borglum spent considerable time working
on his "pipe dreams," he had difficulty finding buyers for them.
He soon realized, however, that enterprising sculptors could make a reputation
and a good living working on the numerous public monuments being erected
because of a resurgence in civic and nationalist pride.
This trend, known first as the American Renaissance, later
as the Civil Works era, and finally as "the city beautiful" movement,
had started shortly after the Civil War. It coincided with the concentration
of great fortunes in the hands of individuals who could gain social recognition
by sponsoring public monuments.
The dominant theme of most of these commissions was heroism
and service in war or in public life, the qualities their sponsors viewed
as most worthy of public recognition. The monuments both reflected and helped
shape the ideals of the nation."
In Search of Lincoln's Features
"
Among
the heroes being celebrated in public monuments, few were as prevalent as
Abraham Lincoln. His popularity was particularly strong around 1909, the
centenary of his birth. Artists vied with each other trying to prove that
their version of Lincoln was the best. In 1907 Borglum had made a colossal
head of Lincoln which, at Teddy Roosevelt's urging, was shown at the White
House and eventually donated to the United States Capitol Building by Eugene
Meyer. Much admired by Lincoln's son, Robert, this sculpture helped cement
Borglum's reputation as a monumental sculptor."
(left: Gutzon
Borglum with his
Colossal Lincoln
, The Borglum Archives)
Aviation: Heroes and Scandals
"
Only
a few years after the short, tentative flight of Kitty Hawk, a great deal
of work was being done on the military applications of the new discovery.
An early aviation enthusiast, Borglum had himself tried his hand at the
design of airplane parts. He met the Wright Brothers and participated in
one of their military demonstrations."
(left: Gutzon Borglum
in Stanford Studio working on a model of
Aviator
(monument to Jim
McConnell), c. 1918, The Borglum Archives)
Saints, Warriors and Statesmen
"Borglum was highly suited to the competitive environment
surrounding the contracts for public buildings and monuments.
..
Between 1905 and 1927 he would produce one hundred figures for
the Cathedral of Saint John the Divine, in New York City; the
Colossal
and the
Sealed Lincolns
; the massive
Wars of America
monument
for the city of Newark, New Jersey; two versions of his
General Philip
Sheridan
; the
Wheeler Fountain
in Bridgeport, Connecticut; the
Monument to James McConnell
for the University of Virginia;
The
Trail Drivers Memorial
for San Antonio, Texas; and numerous small commissions,
which he called his "bill payers." He was also to redesign and
repair the torch of the Statue of Liberty in New York's harbor and make
a group of gargoyles for Princeton University."
The Next Step: Mountain Carving
Borglum
had always tried to express the meaning of his artworks through their size.
In 1915 he took this principle to an extreme when asked to design a monument
to the bravery of the Southern soldier. This ideologically-charged monument
was to be known as
Stone
Mountain
. The federal government agreed to help sponsor the project
through the minting of a special Stone Mountain half-dollar coin. Originally
sponsored by the United Daughters of the Confederacy, the site soon became
one of the main rallying centers of the newly energized Ku Klux Klan.
(left:
Generals Jackson and Lee
(Sketch for Stone Mountain) c. 1916,
charcoal on paper, SMNC, Pierre Dupuy)
To Borglum, the cause the monument was meant to celebrate
was too large to be reflected in an ordinary way. Quickly dismissing his
sponsors' original proposal as inadequate, he replaced it with his vision
of a large Southern army cut on the north face of Stone Mountain.
The added dimensions meant that the project would have
an enormous cost. Although Borglum spent considerable energies fundraising
for It, major differences with the monument's commissioners eventually led
to his dismissal."
A Monument Fit For the Country: Mount Rushmore
"Once planned as a monument to the heroes of the West,
the meaning of
Mount Rushmore
changed under Borglum's leadership. He intended it to represent the essence
of a great nation. Responding to the United States' emergence as a world
power after World War I, Borglum vowed to create a monument "as big
as the country itself."
At Mount Rushmore Borglum used skills he had improved since
Stone Mountain, including highly accurate dynamite charges. The carving
of the monument, however, experienced numerous delays. They were caused
largely by the need to raise huge sums of money during the Depression but
also by red tape, bureaucratic infighting, and Borglum's involvement in
too many areas of the project.
At his death in 1941 the monument was unfinished. His son
Lincoln was charged with completing the work in progress. Most of the monument,
however, was left as the artist left it and no attempt was made to execute
his entire design."
Rushmore in Its Creator's Mind
"Borglum' s main purpose at Mount Rushmore was to
provide an enduring testimony of the special nature of the United States.
He worried that future civilizations would misunderstand the monument and,
thus, the country that had inspired it...Although the artist made numerous
changes to Mount Rushmore's design, he fought tenaciously to protect his
basic concept of the monument, resisting numerous attempts to alter it.
From the beginning, people everywhere have given their own meaning to Mount
Rushmore. Many see it as a portrait gallery of the best presidents
the country has had. However, Mount Rushmore is an original work of art
with its maker's own meaning and design."
"Out of Rushmore's Shadow: The Artistic Development
of Gutzon Borglum" is supported by a grant from the Connecticut Humanities
Council. Additional funding was received from The Fairfield County Foundation,
the Fowler Family, The Louis J. Kuriansky Foundation, The Mabel Burchard
Fischer Grant Foundation, Poundridge Nurseries, Inc,The Daniel K. and Betty
Roberts Family Foundation, The Rich Foundation, Key Bank and Champion International
Corporation. Text and Images courtesy of Stamford Historical Society.
Please see the biography on
John
Gutzon Borglum
from the
Springville
Museum of Art
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