Mother Peace #5 of 8

 Posted by on July 16, 2013
Jul 162013
 

Crissy Field

Mother Peace by Di SuveroMother Peace – 42 feet tall, painted Steel 1969-1970

Mother Peace was originally installed near an entrance to the Alameda County courthouse in Oakland, but a judge, so offended by the peace sign that di Suvero had painted on one of the I-beams, transformed himself into an art judge and insisted on its removal.  The work is now installed at Storm King Art Center.

Di Suvero himself moved to Europe in 1970 to protest against the war in Vietnam, returning to the United States in 1974.

Mother Peace is built around one 42-foot vertical beam (a V-shaped horizontal piece hangs from and swings about the top), the two lower horizontals (one moving), and two long diagonal props.

Mother Peace by Di Suvero

Figulo #4 of 8

 Posted by on July 15, 2013
Jul 152013
 

Crissy Field

Figolu by Mark di Suvero

Figulo (2005-11) 47′ × 55′ painted steel, steel buoys – collection of the artist

From the Brooklyn Rail when this piece was exhibited at Governor’s Island:  From afar, it looks to be a drafting compass fit for the gods. Its red extension beams ignite in the afternoon sunlight. At close range, the dimensions shift perceptually. The sculpture’s backbone extends outward as joints become gracefully visible, angles more acute. The sky seems closer than ever, as meandering clouds seem to collapse into the slats between the beams.

Figulo by di Suvero

Will by di Suvero #3 of 8

 Posted by on July 13, 2013
Jul 132013
 

Crissy Field

Di Suvero

Will, 1994- steel-  Doris and Donald Fisher Collection

This exhibit on Crissy Field coincides with di Suvero’s 80th birthday, the exhibition holds particular significance for the artist, who immigrated to San Francisco from Shanghai at the age of seven. His passage beneath the Golden Gate Bridge—which opened a few years before his arrival—proved to be a lasting inspiration, as the scale and color of the structure have influenced di Suvero throughout his life. Di Suvero notes, “It was like a rainbow, a bridge coming to the New World starting a new life. The woman who chose the color of the bridge, Malo Lowell, taught me how to work wood as a teenager and from there, all was freedom.”

Magma by Mark di Suvero #2 of 8

 Posted by on July 12, 2013
Jul 122013
 

Crissy Field

Di Suvero at Crissy Field

“Magma” (2008-12), steel sculpture by Mark di Suvero, measures 25 feet tall by 48 feet wide. Leant by the artist, this piece is on public view for the first time.  Magma appears as a giant sawhorse in which a 48-foot I-beam is supported between two of the artist’s traditional, uneven tripods. It is distinguished by a big pair of cut circles (or C’s, or G’s) that can slide along the horizontal beam, matched by a pair of similar rings that wrap around the joint at one of the ends.

 

Magma by di Suvero

Mark di Suvero, has other pieces permanently around San Francisco.

di Suvero was born in Shanghai, China, in 1933. He immigrated to the United States in 1941 and received a BA in Philosophy from the University of California, Berkeley. Di Suvero began showing his sculpture in the late 1950’s and is one of the most important American artists to emerge from the Abstract Expressionist era. A pioneer in the use of steel, di Suvero is without peer in the exhibition of public sculpture worldwide.

Dreamcatcher first in a series of 8

 Posted by on July 10, 2013
Jul 102013
 

Crissy Field

Mark Di Suvero on the Marina Green

In light of the closing of SFMOMA for its expansion, the museum is placing art “all around town”.

This exhibit of EIGHT of Mark Di Suvero’s massive metal sculptures is the first of the series. As much as I love and respect the curators of the SFMOMA, I have always felt that they never quite understood the subtleties of culling an exhibit down to its finer points.

This retrospective is no different.  It is the opinion of this writer, that large sculpture should either overwhelm its environment so that it becomes the focal point, or is overwhelmed by its environment so that the eye focuses on the piece.  In the case of this exhibit the sculptures not only compete with the background of road construction, but with each other.

None-the-less, local boy makes good is the point of this exhibit and it is well worth the visit if you are given the opportunity.

Mark Di Suvero

This piece is titled Dreamcatcher. Dreamcatcher is 55 feet high and  normally resides at Storm King in New York.  The piece was done from 2005 to 2012.  There are four unusually high and symmetrical tilting beams joined at the top, where they blossom into an interlocked array of cut-out steel circles. Held horizontally to a stainless steel spire in the middle and above the circles is a giant hand of four splayed similar beams, joined at one end, which blow freely in the wind, “catching dreams”.

Storm King is one of America’s finest outdoor art galleries, and a space where large sculpture is given its true due by the vast open spaces that surround each piece.

Fletcher Benton at Symphony Hall

 Posted by on July 2, 2013
Jul 022013
 

201 Van Ness
Civic Center

Fletcher Benton at Symphony Hall

Titled, Balanced Unbalanced T, this Steel and Flat Black Enamel piece sits on the exterior second floor of Davies Symphony Hall, it is accessible at all times via a staircase that can be accessed off of Grove Street.

The piece, done in 1981, is by Fletcher Benton, who has been in this website before .

Fletcher Benton (born February 25, 1931 Jackson, Ohio) is from San Francisco, California

He graduated from Miami University, Oxford, Ohio with a Bachelor of Fine Arts degree in 1956. From 1964 to 1967 he taught at the San Francisco Art Institute and taught as an associate professor and then professor of art at San Jose State University from 1967-1986.

Balanced Unbalanced T by Fletcher Benton

 

This piece is actually owned by the San Francisco Museum of Modern Art.

 

Leo Lentelli and his San Francisco Work

 Posted by on July 1, 2013
Jul 012013
 

Hunter Dunlin Building
111 Sutter Street
Financial District

The Seasons by Leo Lentelli

The Hunter Dunlin Building is one of San Francisco’s gems.  Restored in the late 1990’s to its former glory, it has ornamentation throughout its lobby and everywhere you look on the exterior.

There are six plaques on the Northern and Eastern facades called The Seasons.  They are by Leo Lentelli.  They are allegorical representations of the seasons, and while there are six plaques there are only two different sculptures.

Leo Lentelli The Seasons

Leo Lentelli is best known in San Francisco for designing the tops of the street lights on Market known as the Path of Gold.

Lentelli was an Italian sculptor who immigrated to the United States. During his 52 years in the United States he created works throughout the country, notably in New York and San Francisco. He also taught sculpture.

 

Water Sprites by Leo Lentelli

Water Sprites at Panama–Pacific International Exposition in San Francisco – Courtesy of the San Francisco Public Library

Born in Bologna, Italy, Leo Lentelli studied in Bologna and Rome and worked as a sculptor in Italy. He immigrated to the United States in 1903 at the age of 24. In 1911 he entered the Architectural League exhibition and won the Avery Prize. The following year he became a naturalized citizen of the United States.Chosen to provide sculptural ornament for the Panama-Pacific Exposition, Lentelli moved to San Francisco in 1914. He collaborated with Frederick George Richard Roth and Stirling Calder (Alexander Calder’s Father). Calder has been credited with aiding Lentelli in developing his own style  An example can be seen in his Water Sprites.

He also participated as a sculptor in the city’s artistic renewal, which took place after the 1906 earthquake and fire.  While in San Francisco he taught at the California School of Fine Arts. Significant works from this period include the Five Symbolic Figures at the Old Main Library elevated above the street entrance of the Larkin Street entrance.(no longer available)  Still a resident of San Francisco, he made the ornament for the Orpheum Theater, then known as the Historic American Theater. (no longer available)

Eventually Lentelli moved back to New York City and began teaching at the Art Students League. Lentelli’s bas-reliefs on the International Building at Rockefeller Center are considered among his most important works.

Lentelli retired to Italy and died on December 31, 1961 in Rome.

Mercury by Leo Lentelli

At the entrance to the Hunter Dunlin Building is this sculpture by Leo Lentelli titled Mercury.

The San Francisco Public Library Blog has some wonderful photographs of Lentelli’s work in San Francisco that is no longer around.

Washington High School and the WPA

 Posted by on June 18, 2013
Jun 182013
 

George Washington High School
600 32nd Avenue
Richmond District

George Washington High School, San Francisco

George Washington High School opened on August 4, 1936, to serve as a secondary school for the people of San Francisco’s Richmond District. The school was built on a budget of $8,000,000 on a site overlooking the Golden Gate Bridge.

The architect was Timothy Pflueger, here he begins moving away from the highly decorative elements of his earlier Telephone Company Building and begins using symmetrical central elements, minimally embellished with fluted speed lines and simple plaques.

The lobby is decorated with WPA murals by Victor Arnautoff in the “buon fresco” styles. They depict scenes from the life and times of George Washington. In the second floor library, there is a WPA mural produced by Lucien Labaudt, entitled “Advancement of Learning through the Printing Press”, another by Ralph Stackpole titled “Contemporary Education” and “Modern and Ancient Science” by Gordon Langdon.

The stadium, auditorium, and gymnasium were added in 1940. The school was formally dedicated on Armistice Day of 1940.

George Washington High School Sculpture

The three figures over the door were sculpted by Victor Arnautoff.

Victor Arnautoff, painter, muralist, lithographer, sculptor and teacher, was born in Mariupol, Ukraine, in 1896. He served as a Cavalry officer in Czar Nicholas II’s army, receiving the Cross of the Order of St. George before escaping to Manchuria to avoid the Bolshevik Revolution. Arnautoff traveled to China and Mexico before emigrating to the U.S. and San Francisco in 1925.

He enrolled at the California School of Fine Arts where he studied sculpture with Ralph Stackpole and painting with Edgar Walters. Arnautoff returned to Mexico and studied mural painting with Diego Rivera.

By 1931 he had returned to San Francisco and shortly thereafter taught sculpture and fresco painting at the California School of Fine Arts. He also taught at Stanford University where he was Professor of Art from 1939 – 1960. His art affiliations included memberships in the San Francisco Art Association and the California Society of mural painters. Arnautoff was technical director and art chief of the Coit Tower murals project and is represented by a mural depicting city life.

He exhibited at the Golden Gate International Exposition, New York World’s Fair, Art Institute of Chicago, Palace of the Legion of Honor, Toledo Museum of Art, Foundation of Western Art, California Pacific Exposition, as well as annual shows of the San Francisco Art Association.

After the death of his wife in the 1960s, he returned to the USSR and died in Leningrad in 1979.

Shakspeare by ArnautoffShakespeare

Washington by ArnautoffGeorge Washington

Edison by Arnautoff

Thomas Edison

On the science building are two Arnautoff sculptures titled Power and Industry.

Power by Victor Mikhail Arnautoff*

Industry by Victor Arnautoff

Five Questions

 Posted by on June 13, 2013
Jun 132013
 

Mint Plaza
SOMA/Market Street Area/Union Square

What? in Mint Plaza

WHAT is on the Side of the San Francisco Chronicle Building at 5th and Minna

 

These two sculptures are part of a large project, within an even larger project.

The larger project is called the 5M project.

The 5M Project is a creative development in downtown San Francisco designed to catalyze the innovative ideas that build our economy and strengthen our communities. It is a place that utilizes a collective need for innovation to encourage shared resources and ideas across traditional boundaries. Where artists, makers, students, changemakers, entrepreneurs, local food, and technology are coming together day and night. A place designed for people to be creative.

In the last two years, 5M has assembled and connected more than 2,000 creative organizations linked together at 5M through their partners: TechShop, Hub, SoMa Central, SFMade, Intersection for the Arts, Off the Grid and SOCAP, among others. Together, they are transforming an underutilized property into a vibrant place for community and innovation.

Over the next ten years, the four-acre site (between 5th, Mission, and Howard Streets) will become a mix of low, mid, and high rise buildings for living, working, and playing.

These two sculptures are the first of five sculptures that ask Who, What, When, Where and Why and are put together by the Intersection for the Arts program.  Established in 1965, Intersection is a pioneering arts and community development organization that brings people together across boundaries to instigate break-through change. Intersection’s programs emphasize relationships, collaboration, and process. Intersection works with hundreds of artists through residencies, commissions, fellowships, fiscal sponsorship and incubation, performances, exhibitions, workshops and public art projects. Annually, Intersection works with more than 50 community partners across sector and field. Intersection is a lead collaborator on the 5M Project.

 

Who at Mint Plaza

The WHO sculpture is a 10 foot long, 300lb steel bench made of 7 gauge A-36 steel and sits in Mint Plaza on the 5th Street Side.

 

The artists for this project are of five illuminated sculptures to be installed around the area are artist  Ana Teresa Fernandez and designer & architect Johanna Grawunder.

Ana Teresa Fernandez is a visual artist, sculptor, and performance artist based in San Francisco, CA. Originally from Tampico, Mexico,  Fernandez explores the territories that encompass different boundaries and stereotypes: physical, emotional, and psychological.  She subverts the typical folkloric representations of Mexican women by changing the protagonist’s uniform to the quintessential little black dress, a symbol of American prosperity and femininity and of the Mexican tradition of wearing black for a year after a death. Her paintings portray actual performances where Fernandez takes on the Sisyphean task of cleaning the environment – sweeping sand on a beach, vacuuming a dirt road – to accentuate the idea of disposable labor resources. She received her M.F.A. from the San Francisco Art Institute

Johanna Grawunder  is a designer and architect based in Milan, Italy and San Francisco. Her work spans a broad range of projects and scales, from large-scale public installations, architecture and interiors, to limited edition furniture and lights and custom commissions.  She worked with Sottsass Associati from 1985-2001, becoming a partner in 1989. At the Sottsass Studio she was involved primarily with architecture and interiors, co-designing with Ettore Sottsass, many of the firm’s most prestigious projects. In 2001 she left Sottsass Associati and opened her own studio in San Francisco and Milan. Graduating in 1984 from California Polytechnic State University in San Luis Obispo with a Bachelor of Architecture degree, she completed her final year of studies in Florence, Italy and in 1985 moved to Milan. She was born in 1961 in San Diego, California.

 

Jaques Schnier on Treasure Island

 Posted by on June 11, 2013
Jun 112013
 

Treasure Island
Building #1

Jacques Schneir on Treasure Island

These two cast stone sculpture represents India and were done by Jacques Schnier for the Golden Gate International Exposition.  They have been known by several names, including “The Tree of Life,” but the preferred name is “Spirit of India.”  These are just two of  twenty that were part of the Unity sculptures placed in the Court of the Pacifica.  Jacques Schnier designed at least seven pieces of sculpture displayed at the fair.

Jacques Schnier at Treasure Island

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Jacques Schnier was born in Romania and came to the United States with his family in 1903.  He grew up in San Francisco.  He received an AB degree in engineering from Stanford n 1920 and an MA decree in Sociology from Berkeley in 1939.

An interest in city planning led to his abandoning a successful career in engineering and enrolling in the Department of Architecture at Berkeley.  This in turn gave him his first experience in art, since architecture students were required to take art courses. He eventually dropped out of architecture school to devote full time to his sculpture.

Schnier spent 30 years teaching at Berkeley, first as a lecturer in the Department of Architecture, he retired as Professor of Art, Emeritus, in 1966.

Following his retirement he expanded into many mediums, having previously favored such materials as stone, wood, bronze, marble and coper, he later focused on the medium of carved and polished clear acrylic resin (Plexiglas). His excitement with the material led him to exclaim in 1975 that “at last I’ve found my medium”  It’s as though I am sculpting pure light. At 76, I’m hitting my stride”.

Jacques Schnier died March 24, 1988 a the age of 89.

Adaline Kent sculptures on Treasure Island

 Posted by on June 10, 2013
Jun 102013
 

Treasure Island
Building #1

Adeline Kent on Treasure Island

These cast stone statues are part of Adaline Kent’s group of three Pacific Islander statues that were among the twenty Pacific Unity sculptures produced for the Court of the Pacifica at the 1939-1940 Golden Gate International Exposition.  The two  shown here are listening to a stringed instrument (most likely a ukelele) played by a young boy, the third statue, that is unfortunately lost.

Pacific Islander Statue part of the Unity Group for the GGIE

Adaline Kent was born in Kentfield, California in 1900. She attended Vassar College and upon graduation she returned to the Bay Area, where she studied for a year (1923-24) with Ralph Stackpole at the California School of Fine Arts (now the San Francisco Art Institute). Stackpole was a leading proponent of the “direct-cut” sculpting method. She then traveled to Paris in 1924 to study at the Academy de la Grand Chaurniere with Emile Antoine Bourdelle, a disciple of and former assistant to Rodin.

Kent returned to San Francisco in 1929 and set up a studio in North Beach. She soon established a reputation as an innovative and original sculptor of great originality, developing an abstract style rooted in surrealism and becoming a prominent member of the San Francisco Art Association. Kent exhibited or juried in the prestigious Annual show nearly every year from 1930 until her death in 1957. She served on the Board of Directors from 1947-57, and taught at the California School of Fine Arts in 1955.

Following a trip in 1953 with her husband, sculptor Robert Howard to Egypt and Greece, her work evolved toward simplified columnar forms.

In 1957 Adaline Kent died in an automobile accident on the Pacific Coast Highway south of Stinson Beach.

Jun 082013
 

Treasure Island
Building #1

Flutist by Helen Phillips Treasure Island

This cast stone sculpture is by Helen Phillips.  Titled Flutist, it is from the Chinese Musicians Group produced for the Golden Gate International Exposition.  This was one of a group of 20 sculptures titled Unity that were produced for the Court of the Pacific.

This is from Helen Phillips obituary:

Phillips was born in 1913 in Fresno, California, and studied at the School of Fine Art in San Francisco. Ralph Stackpole taught her direct carving there, and introduced her to Diego Rivera, who was pointing [sic] murals in the city. She remembered with affection how the Mexican always kept a revolver on the scaffold, more out of showmanship than fear of Stalin’s henchmen. But she found social realism stifling, and was never willing to sacrifice the integrity of form for political content. She was more excited by San Francisco’s collections of American Indian, Chinese, Pre- Columbian and Oceanic art than its struggling factory workers.

In 1936 Phillips received a Phelan Travelling Fellowship to study in Paris, where she assimilated all the new styles, especially Surrealism. She entered Atelier 17, the intaglio print workshop of her future husband Stanley William Hayter, which was a hub of avant-garde experiment. She made some beautiful engravings, but her experience with gravure was even more crucial for her sculptural development, as it forced her to become conscious of negative space. She lost all her carvings of the pre-war years when she fled to New York in 1939.

Such mythic qualities identify Helen Phillips as a sculptural pioneer within the emerging New York School, and indeed she showed in Nicolas Calas’s landmark exhibition “Bloodflumes 1947”, alongside such peers as Arshile Gorky, Wilfredo Lam, Roberto Matta, David Hare and Isamu Noguchi. She published in the avant-garde journal Tiger’s Eye, and it is probable that had she not returned to Paris in 1950 she would have developed a considerable American reputation. Meanwhile, the primitive influence culminated in the 18-foot “Totem” (1955), made up of interrelated limbs and ambiguous suggestions of growth, carved from a discarded 17th-century walnut beam she found in the Ardche.

Phillips was by first inclination a carver: she only started using bronze by chance, when one of her wood carvings split and she wanted to save the image. She soon found herself absorbed by a more linear range of expression suggested by metals, however, and her figures in copper tubing are delightful Calder-like drawings in space. Her compositions in polished bronze exploit light with almost baroque intensity to give the maximum sensation of movement and gesture. “Amants Novices” (1954) is a masterpiece within this genre, its convoluted limbs and its voluptuous edges, corners and bends longingly caressed by light which gives the impression of sweaty exertion. The conflicting sense of precarious balance and vigorous abandon captures the magical clumsiness of sex. The seemingly inevitable ease of a sculpture like this belies the painstaking effort needed to achieve such effects. When a cast returned from the foundry, the work was only half done as far as Phillips was concerned, as she proceeded to file away for months, even years, to capture the “true” forms.

In a completely different vein, Phillips produced an extensive series of geometric constructions in wire which explored ideas of modular growth proposed by the American architectural theorist Buckminster Fuller, and also by Sir Wentworth D’Arcy Thompson, whose Growth and Form (1917, revised 1942) has been a bible for many modern artists. Phillips recalled how she worked out of one volume, her husband Bill Hayter from the other, so they would have interesting things to talk about. Hayter’s wave imagery of the 1960s partly derived from Thompson, while Phillips pursued a complicated set of cubic abstractions to express movement in space. ln these cerebral, aloof creations, as in Bach’s Well-Tempered Clavier, the intriguing poetry has less to do with cold, abstract theory than intuitive, aesthetic decisions.

Until the mid-1960s Helen Phillips enjoyed a growing international reputation, starting with a prize she won in the French heat of the international “Unknown Political Prisoner” competition, in 1952. She collaborated with the architect Erno Goldfinger, who owned her “Suspended Figure” (1956), which was included in the Whitechapel Gallery’s “This is Tomorrow” exhibition of that year. She was cited in Herbert Read’s definitive survey Modern Sculpture (1964), and her works began to enter important collections, including those of Peggy Guggenheim, Roland Penrose, and various American museums.

But disaster struck in 1967, when she severely injured her back moving a heavy sculpture which had just been bought by the Albright Knox Museum in Bufallo (“Alabaster Column”, 1966). She was incapacitated for eight years at a crucial stage of her career, which never recovered. When she finally got back to work, the talent and determination were still there, but somehow the creative impetus could not be regained. She concentrated on seeing earlier ideas through the foundry, and become a familiar figure in Pietra Santa, the town of foundries and carving workshops in Tuscany, during the summer months. She did manage to produce some late intimate pieces in wire, plaster or wax.

Some years ago she sent her friends an eccentric Christmas card, which consisted of a DIY model in balsa wood which, when constructed, showed a couple embracing. Man Ray was so delighted he sent her a photo of the assembled sculpture by return of post. Another endearing tale she used to tell was of a party attended by Calder and Giacometti. Giacometti made a sketch of Calder on a piece of old newsprint. The American demanded to see it, and proceeded to sketch Giacometti next to his own features. They were about to throw it away when Phillips protested, and got to keep these mutual portraits of her friends and idols.

Helen Phillips, artist: born Fresno, California 12 March 1913; married 1940 S.W. Hayter (died 1988; two sons; marriage dissolved 1971); died New York City 23 January 1995.

Horn by Helen Philips

 

Blowing a Horn, also from the Chinese Musicians Group

 

These pieces are part of the Treasure Island Development Organization and the Treasure Island Museum.

Bliss Dance

 Posted by on June 6, 2013
Jun 062013
 

9th and Avenue of the Palms
Treasure Island

DSC_0867

This piece, by Marco Cochrane , was featured at Burning Man in 2010.  According to the supporting art group Black Rock :

The sculpture, of a dancing woman, stands 40 feet tall, weighs 7000 pounds and is ingeniously constructed of triangulated geodesic struts. By day, the dancer’s ‘skin’, made of stainless steal mesh, shimmers in the sun. By night, it alights brilliantly with a complex array of 1000 slowly changing l.e.d. colored lights. Viewers may interact with and manipulate the lighting effects with an iphone application. The dancer’s delicate, graceful form precariously balances on one foot, adding to the astonishing impression of imminent movement and lifelike presence.

Marco Cochrane was born to American artists in Venice, Italy in 1962. He was raised in California in the midst of the political and cultural movement. As a result, Marco learned respect for oneness, balance, the sacred, and the imperative to make the world a better place. In particular, he identified with the female struggle with oppression, and he saw feminine energy and power as critical to the world’s balance. Supporting this change quickly became Marco’s life’s mission, although, it never occurred to him that art would be the vehicle. On a dare, he explored sculpting people and found a talent he was unaware of…the ability to re-create a person’s essence in figurative form. When Marco started sculpting, he realized he was pursuing the mission he’d set out to do…to empower women.

Bliss Dance by Marco Cochrane

 

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Bliss Dance at Night

 

Photo by David Yu, you can view more photos of Bliss Dance at Night here:

Thomas Garriue Masaryk

 Posted by on June 5, 2013
Jun 052013
 

Rose Garden
Golden Gate Park

Thomas Garriqe Masaryk

Located at the entrance to the Rose Garden just off of JFK Boulevard is this bust of Thomas Garrigue Masaryk.  Masaryk was the first president of Czechoslovakia, a statesman, philosopher, liberator and humanitarian.  The bust was sculpted by Josef Mařatka in 1926 and was exhibited at the 1939 Golden Gate International Exhibition on Treasure Island.  It was given to the park in 1962 as a gift of the San Francisco Chapter of Sokol, a Czechoslovakian gymnastics association.

Josef Mařatka was a Czech visual artist who was born in 1874. Mařatka studied Applied arts at Celda Klouček and then under Josef Vaclav Myslberka at the Academy of Fine Arts.  In 1900 he worked briefly in the studio of August Rodin in Paris.

In the beginning he worked in the expressionism movement, but under the influence of Rodin he began to focus on Art Nouveau symbolism.  He was later influenced by the likes of Bourdelle.  After the war he tended to focus on socialist tendencies and neoclassical art.  The artist died in 1937.

According to the Smithsonian the piece was originally owned by Franta Anýž. Anýž was a fascinating businessman in Czechoslavakia and this is what I found about him while reading a retrospective of his work that took place at the Municipal House in Czechoslavakia.

The name of Franta Anýž, a talented visual artist, meticulous jeweller, sought-after chaser and medal designer, excellent craftsman highly acclaimed in the first half of the twentieth century, and, finally, responsible and modern entrepreneur in the applied art industry, is nowadays perhaps only known to a group of experts.

The charismatic František Anýž (1876 – 1934) excelled with his talent and industriousness already at the School of Applied Arts in Prague where he studied with professors Celda Klouček and Emanuel Novák. With his tireless drive and thanks to his no less effective organisational capacities, he worked himself up from running a small workshop, founded in Prague in 1902, to become the owner of an esteemed art metalworking factory in the course of a single decade.

A side note – the sculpture is credited in the Smithsonian to a J. Matatka.  This is incorrect and has led most everyone to continue to repeat the misspelling

Florence Nightingale

 Posted by on June 4, 2013
Jun 042013
 

Laguna Honda Hospital
Forest Hill / Twin Peaks

Florence Nightingale at Laguna Honda Hospital

This graceful painted cast stone statue of Florence Nightingale titled Lady of the Lamp is by David Edstrom and was done in 1937.  The project was part of the WPA (Works Progress Administration) Federal Artists Program.

The statue sat in the Court of the Seven Seas during the Golden Gate International Exhibition.  The Lady of the Lamp refers to a Longfellow poem.

(Peter) David Edstrom (1873-1938) was an immigrant from Vetlanda, Jönköping County, Sweden. In 1880, he immigrated to the United States with his parents, John Peter Edstrom and Charlotte Gustavson Edstrom. Edstrom lived in Ottumwa, Iowa from 1882 to 1894, which he embraced as his hometown and where he became aware of his artistic skills. (Des Moines Register; May 20, 2007). He returned to Sweden after a hobo’s journey started in a freight train car on July 29, 1894 and ended (after a wage earner’s trip across the Atlantic) in Stockholm where he supported himself during his studies at the Stockholm’s Royal Institute of Technology and Royal Swedish Academy of Arts.

In 1900, Edstrom moved to Florence where he attended the Academia of Fine Arts. He returned to the United States in 1915.  Around 1920, he relocated in Los Angeles, where he was one of the organizers of the Los Angeles County Museum of Art.

Laguna Honda Hospital has a very long history in San Francisco that can be read here.  The building that Florence Nightingale sits in front of  began construction in the 1920’s when Mayor James “Sunny Jim” Rolph turned over the first spade of earth for the Spanish Revival-style buildings that would become Laguna Honda Hospital and Rehabilitation Center

Those buildings were opened in 1926 and continued to grow in the decades that followed with the addition of new “finger wings,” the long, Florence Nightingale-style open wards that were customary at the time.

Florence Nightingale by Edstrom

There is a plaque on the side of the sculpture pedestal that reads:

In memory of Florence Nightingale, “The Founder of Professional Nursing”
Designed and created by the late David Edstrom. Dedicated National Hospital Day, May 12, 1939. Golden Gate International Exposition under the auspices of Northern California Federal Artist Project, Works Progress Administartion. City and County of San Francisco. Association of Western Hospitals, Association of California Hospitals, Western Conference, Catholic Hospital Association, California State Nurses Association.

The Longfellow Poem:

SANTA FILOMENA
by Henry Wadsworth Longfellow
November 1857

Whene’er a noble deed is wrought,
Whene’er is spoken a noble thought,
Our hearts, in glad surprise,
To higher levels rise.

The tidal wave of deeper souls
Into our inmost being rolls,
And lifts us unawares
Out of all meaner cares.

Honor to those whose words or deeds
Thus help us in our daily needs,
And by their overflow
Raise us from what is low!

Thus thought I, as by night I read
Of the great army of the dead,
The trenches cold and damp,
The starved and frozen camp,—

The wounded from the battle-plain,
In dreary hospitals of pain,
The cheerless corridors,
The cold and stony floors.

Lo! in that house of misery
A lady with a lamp I see
Pass through the glimmering gloom,
And flit from room to room.

And slow, as in a dream of bliss,
The speechless sufferer turns to kiss
Her shadow, as it falls
Upon the darkening walls.

As if a door in heaven should be
Opened, and then closed suddenly,
The vision came and went,
The light shone was spent.

On England’s annals, through the long
Hereafter of her speech and song,
That light its rays shall cast
From portals of the past.

A lady with a lamp shall stand
In the great history of the land,
A noble type of good,
Heroic womanhood.

Nor even shall be wanting here
The palm, the lily, and the spear,
The symbols that of yore
Saint Filomena bore.

 

What is Missing?

 Posted by on May 31, 2013
May 312013
 

California Academy of Sciences
Golden Gate Park

Maya Lin at the Academy of Sciences
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This piece, titled What’s Missing is by Maya Lin. The photo above was taken from outside the fence that rings the Academy of Sciences. Entry to the Academy is $30 for adults.

The permanent site-specific sculpture is the first component of an international multi-sited, multimedia art work dedicated to raising awareness about the current crisis surrounding biodiversity and habitat loss. The dedication of the sculpture, which was commissioned by the SFAC, coincided with the Academy’s one-year anniversary in its new location. The Academy is the only institution in the world to house two permanent sculptures by Maya Lin.

The conical bronze and wood sculpture is located on the East Terrace of the building and is Lin’s multi media art work containing sounds of endangered and extinct species, as well as images created from still photos and video footage from a wide variety of scientific sources.

You can read an in-depth interview with Lin about this piece and her What is Missing Project here.

What's missing by Maya lin
Photo credit: SFAC

Where the Land Meets the Sea

 Posted by on May 30, 2013
May 302013
 

California Academy of Sciences
Golden Gate Park

Maya Lin Where the Land Meets the Sea

This Marine Grade Stainless Steel wire sculpture (difficult to photograph) is titled Where the Land Meets the Sea, and is by Maya Lin.

This is the first permanent artwork by Maya Lin in San Francisco. The artist was selected through the Arts Commission’s competitive application process in 2005. Although Lin does not usually participate in competitions, she responded to the Arts Commission’s invitation to apply because of her keen interest in the California Academy of Sciences and the opportunity the project would provide to engage with the institution’s scientists. As an ardent environmentalist, Lin wished to develop a project that would make people more aware of their environment and the natural world.

The 36’ x 60’ x 15’ sculpture is fabricated from 5/8 inch marine grade stainless steel tubing. Like a line drawing in space, the sculpture depicts the topography between Angel Island and the Golden Gate Bridge. To make the hills and valleys of the terrain more visible, the actual scale of the landscape is exaggerated by five times above sea level and by ten times below. “This piece was the culmination of a quest to reveal San Francisco Bay—to get people to think about what’s beneath the water line in a new way,” says Lin. “It took almost eight months for us to mesh the land and water data sets because the two sets of data were completely segregated—and this is the whole point! We think of these things as two separate systems even though they are literally connected to each other.” In order to build the sculpture, Lin’s fabricator, the Walla Walla Foundry, recreated the exterior West Terrace of the Academy in their warehouse to ensure precision in the attachment of the sculpture to the terrace’s six columns.

The sculpture is installed outdoors on the Academy’s West Terrace, where it is seamlessly attached to six columns and suspended by nine thread-like steel cables from the overhead solar canopy. It seems to float like a cloud in a Chinese landscape painting against the backdrop of greenery in Golden Gate Park, a dynamic counterpoint to the formal and orderly geometry of the building’s architecture by Renzo Piano.  (from the SFAC press release).

Maya Lin in Golden Gate Park

You can view this piece from outside the gates of the Academy of Sciences.  Entry is $30 for adults.

Spreckles Temple of Music

 Posted by on May 25, 2013
May 252013
 

Music Concourse
Golden Gate Park
Spreckels Temple of Music

Spreckels Temple of Music

This is the third bandstand to grace Golden Gate Park.  Claus Spreckels (The Sugar King) gave $75,000 towards the $78,810 cost of the building.  The shell is an Italian Renaissance style with an acoustically reflective coffered shell standing 70 feet high and covered in Colusa Sandstone.

 The Temple, dedicated on September 9, 1900, suffered damage in the 1906 earthquake (much of its Colusa sandstone cornices, balustrades and corners collapsed). It was further rattled by the region’s 1989 earthquake. This time the restoration was over seen by restoration architects Cary and Company.  Performers under the dome have ranged from John Philip Sousa to Pavarotti and the Grateful Dead.

The band shell is home the the Golden Gate Park Band, an institution since 1882.  They provide free concerts 25 Sundays each year.

Designed by Reid Brothers architects, it is similar to another structure designed by the Reid Brothers in Bellingham, Washington. There is an excellent history of the Reid Brothers by the San Francisco Examiner here.

Robert Aitken sculpture at Temple of Music

The two relief sculptures are by Robert Aitken.  The one on the left holds a lyre and the one on the right a trumpet.

Born in San Francisco, California, Robert Aitken became a noted sculptor who spent most of his career teaching at the National Academy of Design in New York City. He did numerous portraits, full size and bust, of well known figures.

For his early study he was a painting pupil of Arthur Mathews and Douglas Tilden at the Mark Hopkins Institute, San Francisco, and by the time he was age 18 he had his own studio. In 1897, he studied briefly in Paris, where influences turned him to sculpture.

He taught at the Mark Hopkins Institute of Art, University of California, from 1901 though 1904, and was awarded some of the premier sculpture commissions including monuments to the Navy and to President McKinley in Golden Gate Park. In 1904, he returned to Paris for three more years, and then settled in New York City where he was an instructor at the National Academy of Schools Sculpture Class, and at the Art Students League.

Robert Ingersoll Aitken Golden Gate Park

 

 

Lions and Bears in the Park

 Posted by on May 23, 2013
May 232013
 

The Brown Gate
8th and Fulton Street

Bear on the pillar at 9th and Fulton

This bear and lion that grace the pillars when you enter the park at 8th and Fulton are by M. Earl Cummings.  Cummings has been in this website many, many times, he also has quite a few sculptures within Golden Gate Park.

Lion at 9th and Fulton

These sculptures were a gift of Susanna Brown, a one time resident of San Francisco.  Ms. Brown gave $5000 to create the animals which were installed in 1908 to honor her late husband.

Gustave Albert Lansburgh of Lansburgh and Joseph, a firm noted for its movie theater design, is responsible for the stonework.

Bear at 8th and Fulton in San Francisco

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Lion at 8th and Fulton in San Francisco

The Bard and The Park

 Posted by on May 22, 2013
May 222013
 

Shakespeare Garden
Golden Gate Park

Shakespeare Garden

This is the Shakespeare Garden in Golden Gate Park, a favorite spot for weddings. Behind that iron door is a bronze bust of Shakespeare.  On either sides are plaques engraved with excerpts from some of the Bard’s works that mention plants.

The purpose of the garden was to showcase plants and trees mentioned in William Shakespeare’s plays and sonnets. Some of the original plantings in the garden were from seeds from Shakespeare’s garden in Stratford-upon-Avon, supplied by plant purveyor Sutton and Sons.  The garden was established by the California Blossom and Wild Flower Association in July 1928.

The bust is one of two copies made from an original in stone carved sometime before 1623 by Garrett Jansen.  George Bullock created the bronze copies in 1814. The second copy resides in Holy Trinity Church in Stratford-upon-Avon.  The bust is usually shuttered  except for special occasions.

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Horseshoe Courts of Golden Gate Park

 Posted by on May 21, 2013
May 212013
 

Horseshoe Pits
Golden Gate Park

Horseshoe Courts Golden Gate Park

There are sixteen courts in a very out of the way spot of the park, not far from McClaren Lodge.  The site was developed out of a rock quarry during 1934 as a WPA project.

There are two concrete bas-reliefs created on the face of the rocks.  The artist was Jesse S. “Vet” Anderson (born 1875) who was a cartoonist and caricaturist for the Detroit Free Press and later for the New York Herald Tribune.  Anderson was a member of the horseshoe club, he died in 1966.

The sculptures, overgrown and forgotten were revealed in 1968 by a Youth Corps volunteer.

Horse Sculpture at Horseshoe Pits in GGP

The Horse has seen better days.  This was shot in May of 2013.

Horse at GGP Horseshoe Pit 2009

This was shot in 2009 during its restoration.

Horse Shoe Pitcher in GGPThe Horseshoe Pitcher remains in fairly decent shape.

May 182013
 

Golden Gate Park
Near the Sharon Art Center

Young Girl by Jack Moxom

This memorial to Sarah B. Cooper was placed in the park by the Golden Gate Kindergarten Association in 1923. This area sits on the other side of the carousel from the Koret Childrens Playground.

Sarah Cooper was instrumental in the Kindergarten Movement of San Francisco.  Here, from John Sweet in Public Education In California, Its Origin and Development, With Personal Reminiscences of Half a Century. American Book Company: 1911. Excerpts, Chapter XIII, pages 224-226.

Mrs. Cooper entered on the free kindergarten work with her whole soul. She was a woman of marked literary ability. For many years she earned enough with her pen to aid in the support of her family and in the education of her sister’s children in Memphis, Tennessee. She had no money to contribute to the kindergarten cause, but she gave what was needed more than money, —the wealth of her clear intellect, her winning manner, and her devoted Christian philanthropy. It was through her influence that  Mrs. Leland Stanford became interested in the work and finally endowed three kindergarten schools with one hundred thousand dollars for their support. Mrs. Phoebe Hearst was induced by Mrs. Cooper’s persuasive power to endow another kindergarten school. A large number of citizens subscribed five dollars a month, each, for the support of other classes. The Golden Gate Kindergarten Association was organized, and in ten years there were forty-six kindergarten classes supported entirely by endowments and subscriptions. Mrs. Cooper’s annual reports were distributed and read wherever the English language is spoken.

After the death of Mrs. Cooper’s husband, she still continued her management of the kindergarten schools, her daughter Hattie meanwhile supporting the family by giving music lessons. Mrs. Cooper steadily refused to receive a dollar for services, though persistently urged by the officers of the association to accept a salary. Once when I urged her to yield to the wishes of the association, she replied, “This is the Lord’s work, and I feel it would not be blessed if I received pay for it.” She held frequent consultations with me about any new undertakings, and is no person living who knows more fully than myself the extent of her labors, and the wealth of philanthropic devotion and Christian self-sacrifice that she brought to the work of training, reforming, and educating the children of the poor in San Francisco. Her sad and sudden death cast a gloom over the city in which her great work was accomplished.

This sculpture is of a small child with a squirrel and cat at her feet.  It was carved by Jack Moxom.  According to San Francisco’s Golden Gate Park by Christopher Pollock:

“A rainy spring day in 1923 witnessed the dedication of a cast-concrete pool with inlaid bronze lettering dedicated to Sarah B. Cooper, creator of the first kindergarten of the West and one of the most influential women of her time.  Retailer Raphael Weill, owner of the White House department store, had spearheaded a memorial effort in 1912 when he met Cooper’s cousin by chance on a steamer trip, but the project lay dormant for several years until the Golden Gate Kindergarten Association accomplished the good deed.

THE CHILD By MoxomThe subject of the original statue, by native San Franciscan Enid Foster, was a child standing by a pool.  A newer figure (shown here) was carved of red sandstone. Proposed in 1934, the replacement figure was sculpted in 1939 by WPA sponsored artist Jack Moxom,  a Canadian by birth who was an architect and a painter.

“Moxom’s life-size sculpture of a naked girl with a cat and a squirrel at her ankles was modeled after Moxom’s younger sister. Moxom had no sculpting experience and in an interview for the Archives of American Art New Deal and the Arts project Moxom recalls the challenge of creating his first sculpture. “But one of the errors, beside the kindness of hiring me, was that I bought a type of sandstone that darkened to a bloody red when the water hit it and while it was beautifully flesh colored in the studio or in the shed, it wasn’t the moment the water hit it. I kind of pretend it wasn’t that bad, you know, but this little girl of six looked kind of pregnant too. And it had the typical square noses, remember in those days every nose was square. I thought there was a law about noses. Noses just came down with a good flat bridge on them. Now who did we get that from or was it my own … ?” (SF Uncovered)

Now neglected, the pool is filled in with dirt.  One can still read around the rim, In Memory of Sarah B. Cooper.

This badly neglected sculpture is administered by the San Francisco Art Commission.

Henri Crenier’s Telamones

 Posted by on May 16, 2013
May 162013
 

Civic Center
San Francisco City Hall

Henri Crenier sculptures

These telamones by Henri Crenier have always taken my breath away.  They sit on the Van Ness side of City Hall.

Telamones (plural) or Telamon are sculptured male human figures used in place of columns to support an entablature.  They are also called Atlantes (plural) or Atlas.  They are called Caryatids if they are female figures.

Henri Crenier Atlas*

Henri Crenier Atlantes

Henri Crenier was responsible for much of the art work on City Hall.

May 152013
 

City Hall
San Francisco Civic Center

San Francisco City Hall

San Francisco’s City Hall has an art collection of its own within its walls.  This is about the art work that graces the building.  City Hall was the cornerstone to the City Beautiful Movement in San Francisco.

On City Hall there are two tympanums each holding a sculpture by Henri Crenier.  A tympanum is the triangular space enclosed by a pediment or arch.

City Hall Tympanum by Henri Crenier

The tympanum that faces the War Memorial Building on Van Ness features a figure representing Wisdom.  Wisdom stands between the figures of Arts, Learning and Truth on the left and Industry and Labor on the right.

San Francisco City Hall Tympanum by Henri Crenier

The figures in the tympanum that faces the Civic Center represent California’s agriculture and riches (on the left) and navigational skills (right).  They also symbolize San Francisco’s role in the link between the riches of California and the mercantile needs of the rest of the world.

Henri Crenier (1873–1948) was an American sculptor born in France.

Crenier was born in Paris, studied at the École des Beaux-Arts with Alexandre Falguière, worked in Asnières-sur-Seine, and exhibited at the Paris Salon. In 1902 he emigrated to the United States, where he became a citizen in 1911, and became active in New York City, serving as master sculptor in the atelier of Hermon Atkins MacNeil.

His solo work includes the James Fennimore Cooper Memorial in Scarsdale, New York, as well as his single largest commission, the two pediment sculptures in granite for the 1915 San Francisco City Hall. He also contributed to the Panama-Pacific International Exposition (1915) and designed the freestanding figure of Achievement that stands at theNemours Mansion and Gardens in Wilmington, Delaware.

Carl G. Larsen. Chickens to Jet Fighters

 Posted by on May 2, 2013
May 022013
 

Larsen Park
19th Avenue at Ulloa
Sunset District

Larsen the Gentle Dane by Cummings

This plaque can be found on the corner of 19th Avenue and Ulloa.  The plaque was done  by  M. Earl Cummings in 1913 of Carl G. Larsen.

Cummings has appeared prominently in this website for the many sculptures he has done around town.

“In the late 1800s, many speculators began buying land in the Sunset District. By the early twentieth century, landowners in the area included Michael deYoung, Fernando Nelson, and Adolph Sutro. But one of the largest land owners, Carl Larsen, also had other ties to the district.

Larsen did not live in the Sunset District, but he owned a business and a lot of land in the area. Sometimes called the “Gentle Dane,” he donated land for parks in the Sunset and probably would have given more to his city, but underhandedness after his death prevented any further gifts.

Carl Gustave Larsen was born in 1844 in Odense, Denmark. He came to San Francisco in his late 20s and worked as a carpenter. In 1879, he started the Tivoli Café downtown at 18 Eddy Street. In 1905, he moved across the street, constructing his own building at 50 Eddy Street. A popular restaurant, the Tivoli Café was destroyed in the earthquake and fire of 1906. Undaunted, Larsen rebuilt and opened the Tivoli Café and Hotel Larsen.

Plenty of land was available in the Outside Lands in the late 1800s. Larsen’s first venture into real estate was in 1888, when he bought one block in the Sunset at an auction. He continued to buy land in the area, and by 1910 he owned fourteen entire city blocks and lots that totaled about nine more blocks. At this time, all of the land was sand dunes. Few of the streets were cut through, and accessibility was difficult.

As time passed, Larsen sold or donated parts of his holdings. Well-known structures that sit on land once owned by Carl Larsen include St. Cecilia’s Church on Vicente Street and the (former) Shriner’s Hospital on Nineteenth Avenue.

Earl Cummings and Carl G. Larsen

Larsen’s Chicken Ranch

Larsen operated a chicken ranch on one square block bounded by Moraga and Noreiga streets, Sixteenth and Seventeenth avenues. Each morning, a horse-drawn carriage took eggs from the chicken ranch to the Tivoli Café downtown, probably along the only through road in the Sunset, the Central Ocean Road. Tivoli Café ads boasted, “Fresh eggs from Sunset Ranch EVERY DAY.”

Once a year, at Easter, the Larsen chicken ranch hosted a large party for the neighborhood, with open bars and tables of food. Some reports say that these annual parties got out of hand and were discontinued in 1913.

Local Activism

Larsen lived downtown, but he was very involved in the Sunset neighborhood. He was a member of the Sunset Improvement Club and the Nineteenth Avenue Boulevard Club, a group that lobbied for a macadamized road and beautification along today’s Nineteenth Avenue, from Golden Gate Park toIngleside. In 1900, this group raised money to plant “bunch grass” on the west side of the newly macadamized Nineteenth Avenue.

Although he worked for civic improvements and streetcar service to the area, Larsen was not completely happy when his efforts were successful. To help pay for the Twin Peaks Tunnel, a tax assessment was made of Sunset landowners, who would benefit the most from the tunnel’s construction. What happened at this point is not clear. According to the San Francisco Chronicle, Larsen owed about $60,000 and filed an unsucessful protest with the city. The newpaper said that to pay his assessment, Larsen sold many of his lots to the city and to private bidders on May 22, 1914. However, Block Books from 1915 and 1920 show Larsen owning most of the same Sunset land he owned in 1910. In More Parkside Pranks and Sunset Stunts, George Stanton wrote that Larsen did not have enough money to pay the tunnel assessment and “died a broken hearted man.” However, according to the Chronicle, the Larsen estate was worth close to $800,000 when he died.

 

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                                                                                                      Navy Jet – 1960’s Photo:Richard Lim                          F-8 in 1975 Larsen Park Photo: Gary Fong

Land Donation

Larsen is best remembered as the donor of Larsen Park, two blocks between Nineteenth and Twentieth avenues, between Ulloa and Wawona streets. Current Sunset residents know the green lawns, baseball diamond, tennis court, basketball court, and Charlie Sava Pool. Sunset residents in the 1950s and 1960s swam in the “modern” Larsen Pool, and remember the military airplanes that sat on the land, one at a time, for years, unique life-sized toys for children to climb over and sit in.

In 1926, when Larsen donated this park to the city, Mayor James (“Sunny Jim”) Rolph thanked him on the steps of City Hall proclaiming that Larsen would “be remembered in company with other benefactors, who have accumulated great wealth within our boundaries and were inspired to reciprocate with gifts to the commonwealth.”

Larsen Park was unique in that two spaces were set aside as “out-of-door card rooms,” one for men and the other for women. The outside card rooms and soccer field are long gone, but the tennis court and baseball diamond remain, now accompanied by a basketball court and an indoor swimming pool.

A memorial to Larsen stands at the Nineteenth Avenue and Ulloa Street corner of Larsen Park. The bronze plaque, mounted on a large stone, displays a bust of Carl Larsen sculpted by Melvin Earl Cummings, who also sculpted Sather Gate at UC Berkeley. Below the sculpture, the plaque reads, “Carl G. Larsen has generously given these two blocks to the city of San Francisco for park pleasure purposes.”

Larsen also donated land at the southern edge of Golden Gate Heights. Golden Gate Heights Park (or “Larsen’s Peak”) rises 725 feet above sea level, one of the city’s highest hills.

Larsen’s Death and Disputed Will

Carl Larsen died on November 5, 1928. He was remembered as generous both to the City of San Francisco and to his employees at the Tivoli Café. Newspapers reported that the Tivoli Café had been losing money for years before Larsen’s death but that he would not close it or terminate any workers.

Evidence indicates Larsen wanted to leave some of his estate to San Francisco. A handwritten will, dated July 27, 1909 and found after his death, gave $10,000 to a brother, $5,000 each to his other brothers and a sister, $25,000 to a friend, $25,000 to the Danish Ladies’ Relief Society of San Francisco, and $5,000 to the Boys and Girls’ Aid Society of San Francisco. The remainder, estimated at more than $500,000, was given to San Francisco for a museum in Golden Gate Park.

Some people listed in the will never saw those funds. When the will was discovered, Larsen’s signature and the signature of a witness had been “cut off.” Larsen’s relatives (22 of them, some living in Denmark) disputed the will and, in 1931, Superior Court Judge Dunne declared the will invalid. The friend mentioned in the will received a settlement; the rest of the estate was divided among Larsen’s relatives.

Larsen’s museum was never built in Golden Gate Park, but two Sunset parks—Golden Gate Heights Park and Carl G. Larsen Park—remain as reminders of the Gentle Dane.”

Lorri Ungaretti, is the author of the above history.

As a child I was fascinated with the airplanes that sat in Larsen park.  There were three planes in the park over time.  The first was a WWII recon camera plane that sat in the park from 1959 to the mid 1960’s. The jet was hauled to the park by G.W. Thomas Drayage and Rigging Company then the Russell Hinton Painting Company and the District Council of Painters Repainted it.

The second plane was a Navy FJ-Fury fighter that sat in the park from 1967 to the 1970’s.

In 1975 an old F-8 Crusader replaced the fighter plane.  The F-8 was slung on a Marine Helicopter and flown under the Bay Bridge, a sight that must have been something to behold. From there it was taken to the San Francisco Zoo and trucked to the park.  The F-8 was removed on orders from the City as there was not enough money to do lead-paint abatement.  That plane was eventually moved to Santa Rosa and restored.

There is an effort to bring back a play structure that mimics an old military jet, donations are being taken at the Larsen Park Jet Organization.

The Masonic Temple – 25 Van Ness

 Posted by on April 26, 2013
Apr 262013
 

Masonic Temple
25 Van Ness
Civic Center

25 Van Ness, San Francisco

Walter Danforth Bliss and William Baker Faville were the architects of this, the second Masonic Lodge in San Francisco.

The first lodge, at 1 Montgomery Street, was built in 1860 and burned down in the 1906 fire. In 1911 the Masonic Temple Association, headed by William Crocker, laid a 12—ton cornerstone (the largest ever in California at that time) for their new building. Two years later a grand parade of 8,000 Masons, with Knights Templar on horseback, marked its dedication.

Masonic  Temple cornerstoneCornerstone

An outstanding example of the Beaux-Arts period, the temple is primarily Italian Gothic in design, with a Romanesque—style arched entrance and touches inspired by cathedrals in France.

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*Masonic Temple San Francisco

The entrance is through this elegant and noble portal, under a semi-circular hood supported on corbels formed by the stone figures of lions. The tympanum shows three allegorical figures in relief by New York Sculptor Adolph Alexander Weinman (The future creator of the Winged Head Liberty Dime and the Walking Liberty Half Dollar), consisting of three figures of Charity, Fortitude and Truth.  Beneath, the lintel is a row of nine smaller figures by San Francisco artist Ralph Stackpole, representing David, Abraham, St. John the Divine, Nathan the prophet, Moses, Aaron, St. John the Baptist, Joseph and Jonathan.

The 1913 Chamber of Commerce Handbook for San Francisco declared, “One of the few buildings in America comparable to some of the good buildings in Europe is the Masonic Temple.” And the 1919 Architectural Review said, “Bliss & Faville’s Masonic Temple is widely known as one of the best Masonic structures, both inside and out. . . . It looks like what it is, and this cannot always be said of lodges and fraternity buildings.”

 

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The sculpture of King Solomon is also by Adolph Alexander Weinman.  The canopy itself is adorned with sculptured angels, and with enshrined allegorical figures all done by Ralph Stackpole . The man with the capital represents the Builder: the one with the book, Social Order; the one with the lyre, Reverence for Beauty of the World; the one with his hands on his breast, Reverence for the Mystery of the Heavens.

Walter Danforth Bliss was born in Nevada in 1872, the fourth of five children born to Duane and Elizabeth Bliss. Duane Bliss had migrated out to California from Massachusetts during the gold rush period and had become a partner in a Nevada Bank, which was purchased by the Bank of California. Later Duane formed a partnership with Bank of California President, Darius Ogden Mills, in the Carson and Tahoe Lumber and Fluming Company. This successful venture secured the education of the Bliss’ children, each of whom was sent back to Massachusetts for schooling at MIT.

At MIT, Walter Bliss met his future partner William Baker Faville. Faville, more than 5 years his senior, was born in San Andreas, California, but had grown up in western New York State, and had already served an apprenticeship in Buffalo with architects Green & Wicks. Bliss and Faville both left MIT in 1895 and began working at the prominent New York firm of McKim, Mead & White. Although neither appears to have attended the École des Beaux-Arts in Paris, they would have been exposed to its philosophy in New York at McKim, Mead & White and also at the Society of Beaux-Arts Architects in New York, of which John Galen Howard was then President.

In 1898 the pair decided to form a partnership and selected San Francisco as the city in which to work.

The freemasons moved from this building in 1958, it  is now home to a number of city and county departments, including the San Francisco Arts Commission, the New Conservatory Theatre, and the San Francisco Parking Division.

It allegedly sits along the outlines of a pyramid shape planned for the streets of San Francisco by various influential Freemasons. The shape reflects a prominent Freemason symbol and also the pyramid in the Great Seal of the United States. Supposedly, the first diagonal runs from Market to Mission Streets, the second runs along Montgomery Avenue, and the base is formed by Van Ness. The Transamerica Pyramid sits at the capstone.

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Incomplete Metamorphosis

 Posted by on April 25, 2013
Apr 252013
 

Argonne Park
18th Avenue between Geary and Anza
Inner Richmond

Dragon Fly by Joyce Hsu

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Incomplete Metamorphosis by Joyce Hsu

Artist Joyce Hsu combines her personal memories of summer adventures with a complex skeletal structure similar to an airplane to create two unique artworks for Argonne Playground. These two sculptures, Firefly and Dragonfly each grace one of the two entrances to the park.

Hsu explains that the title, “Incomplete Metamorphosis” is a scientific term describing a particular type of life cycle of insects. Hsu has adopted the term, but not its specific meaning. She has created her own meaning, seeing in the term a way to describe her insect sculptures: “Not only are they flightless, but they stand motionless, while their skeletal design requires viewers’ vivid imagination to complete.” She has expressed the hope that “many children will be able to share the joy and amazement I found with dragonflies as a youngster.”

Joyce Hsu (who has been in this website before) received an MFA from the San Francisco Art Institute in 1998. For the last ten years, she has exhibited throughout California and increasingly internationally. Currently Hsu is working to complete a Master of Architecture degree at CCA in San Francisco, where she has also received numerous awards for her work. To date, Ms. Hsu has received five public art commissions, including an upcoming major work to be installed at the San Francisco International Airport.

Incomplete Metamorphosis was commissioned by the San Francisco Arts Commission in accord with the city’s public art ordinance, which provides for an art enrichment allocation equivalent to 2% of the construction budget of a new or renovated civic construction project. Funds for the artwork were provided by the Recreation and Park Department. The two sculptures were commissioned for $25,o00 in the 2006-2007 budget.

Incomplete Metamorphosis

Edison and DaVinci by Olmsted

 Posted by on April 23, 2013
Apr 232013
 

CCSF Ocean View Campus
50 Phelan
Sunnyside

Leonardo DaVinci by Olmstead

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Edison at CCSF

According to CCSF’s website “Archibald Cloud, the Chief Deputy Superintendent of the San Francisco Unified School District, began in 1930 to vigorously articulate a long held educational dream: that the “premier” county in the State—San Francisco—must have the same educational “jewel” as did 38 of the State’s 58 counties. That is, it must have a junior college! Cloud hired world prominent architect, Timothy Pflueger. The two rapidly moved ahead with the design and the construction of the gymnasiums as well as Science Hall, a building they were determined to make into “a showplace of monumental architecture.”

As Vice Chairman of Fine Arts at the 1939-1940 Golden Gate International Exposition on Treasure Island, Pflueger was able to have transferred to the College, at no cost , several of the culturally significant projects created by artists during the fair.  These include these two sculptures carved by Fredrick Olmsted.  They are 7 feet high, four foot square, and 9 tons of granite, representing Leonardo DaVinci and Thomas Edison.  (In researching these two pieces I have also found reference that they are limestone or Tuff stone, my personal opinion is that they are limestone.)

The sculptures were carved for the WPA exhibition “Art in Action”.  Art in Action was an exhibit of artists at work displayed for four months in the summer of 1940 at the Golden Gate International Exposition (GGIE) held on Treasure Island. Many famous artists took part in the exhibit, including Dudley C. Carter, woodcarver and Diego Rivera, muralist.

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Frederick Olmsted (April 10, 1911-February 14, 1990) was born in San Francisco. A collateral relative of landscape architect Frederick Law Olmsted, Olmsted studied science at Stanford and art at the California School of Fine Arts, where he met and married Barbara Greene. In 1937, the couple visited fellow student Helen Phillips in Paris and spent time working at Atelier 17.

Olmsted worked in the WPA, assisting John Langley Howard and George Harris in the Coit Tower, creating his own mural on a three-foot panel above the main entrance. He also assisted Diego Rivera with his mural at the Art Institute in San Francisco. Olmsted created numerous murals and sculptures for public works in San Francisco, including the Theory and Science mural at San Francisco City College. He taught art for a while at Arts and Crafts in Oakland.

After Barbara and he divorced, he continued to work as a sculptor, moving to Cleveland where he designed medical equipment for the Cleveland Clinic. It was there he developed a machine to shock the diseased heart of one of his dogs, a prototype for today’s pacemaker. Olmsted then worked at Woods Hole, Massachusetts, designing equipment and machinery for the Oceanographic Institute.  He died in Falmouth, Massachusetts.

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*Edison and DaVinci by Olmsted

Torso With Arm Raised II by De Staebler

 Posted by on April 17, 2013
Apr 172013
 

475 Sacramento Street
Financial District

Torso With Arm Raised II

De Staebler has appeared on this website before.  Stephen De Staebler, a sculptor whose fractured, dislocated human figures gave a modern voice and a sense of mystery to traditional realist forms, died on May 13 at his home in Berkeley, Calif. He was 78.

De Staebler

This bronze sculpture is an abstract figure of a human torso with an arm partially raised. The arm is incomplete.  The sculpture was purchased for the Embarcadero Art in Public Places project.

Sumer #24 by Larry Bell

 Posted by on April 6, 2013
Apr 062013
 

101 Second Street
SOMA Financial District

Summer #24 by Larry BellSumer #24 by Larry Bell – Bronze

Sumer #24 is a result of the POPOS program and the 1% for Art program of San Francisco. While it is viewable through the windows of the building it is available for viewing up close from 8:00 am to 6:00 pm M-F.

Larry Bell (born in 1939 in Chicago, Illinois) is a contemporary American artist and sculptor. He lives and works in Taos, New Mexico, and maintains a studio in Venice, California. From 1957 to 1959 he studied at the Chouinard Art Institute in Los Angeles as a student of Robert Irwin, Richards Ruben,Robert Chuey, and Emerson Woelffer. He is a grant recipient from, among others, the National Endowment for the Arts and the Guggenheim Foundation, and his artworks are found in the collections of many major cultural institutions. Bell’s work has been shown at museums and in public spaces in the United States and abroad over the course of his 40-year career.

Larry Bell’s art addresses the relationship between the art object and its environment through the sculptural and reflective properties of his work. Bell is often associated with Light and Space, a group of mostly West Coast artists whose work is primarily concerned with perceptual experience stemming from the viewer’s interaction with their work.

Art work at the 101 2nd Street POPOS SF

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