Art Institute of Chicago Sculpture Man Wearing Man Head

Grant Park Sculptures

8th Street Fountain

LOCATION: East of S. Michigan Avenue on axis with E. 8th Street

INSTALLED: 1927

ARCHITECTS: Bennett, Parsons, and Frost

Builder and planner Edward H. Bennett (1874–1954) worked closely with Daniel H. Burnham for many years and together they co-authored the 1909 Plan of Chicago. Later on Burnham died in 1912, Bennett became the consulting architect to the Chicago Plan Commission and the South Park Commission hired him to consummate the plans for Grant Park. Following Burnham'south earlier vision, Bennett adhered to a classical vocabulary for the park. He relied on formal symmetry and created outdoor rooms divers by tree allées, lawn panels, gardens, walkways, terraces and fountains. Besides the monumental Clarence Buckingham Memorial Fountain, the 8th Street Fountain, which was as well synthetic in 1927, is the final of Bennett's original fountains for Grant Park. Although much more small in blueprint and scale, the 8th Street Fountain is classically-inspired. It is composed of cast ornamental concrete with exposed pink granite amass.

A. Montgomery Ward Bosom

LOCATION: E of S. Michigan Artery on axis with E.11th Street

SCULPTED: 1972

INSTALLED IN GRANT PARK: 1993

RELOCATED: 2005

SCULPTOR:  Milton Horn

Aaron Montgomery Ward (1844–1913) founded the globe's start mail-order retail concern in 1872 in Chicago —which presently evolved into the nation's leading section store chain. In 1890, Ward began a xx-year legal battle to keep Grant Park "open, gratis, and clear." He withstood intense public criticism for his campaign to forestall the construction of the Field Museum and other buildings on Chicago's "front end 1000." During his third lawsuit in 1909, Ward told the Chicago Tribune, "Had I known in 1890 how long it would take me to preserve a park for the people confronting their will I dubiety if I would accept undertaken it."

Despite extreme costs in terms of both reputation and his ain personal fortune, Ward continued with a fourth lawsuit in the State Supreme Courtroom, which he won in 1910. Created by Russian-American artist Milton Horn (1906–1995), the sculpture is a scaled-down version of a larger bust that was added in 1972 to a series memorializing significant Chicago businessmen at the Merchandise Mart Hall of Fame. In 1993, Montgomery Ward & Company'due south corporate function donated the smaller version.The Montgomery Ward Foundation and the Friends of the Parks provided funds for its installation in Grant Park. Although the sculpture was removed six years afterward to make mode for Millennium Park, it was rededicated in 2005 at its current site on the southwest side of Grant Park. The bust honors Ward'due south role every bit "sentry dog of the lakefront." Its plaque reads, in function, "Grant Park is his legacy to the city he loved… his gift to the hereafter."

Abraham Lincoln, Head of Country Seated Lincoln

LOCATION: Court of Presidents, due north of E. Congress Parkway and westward of South. Columbus Drive

SCULPTED: 1908

Dedicated: 1926

SCULPTOR: Augustus Saint-Gaudens

Architect: Stanford White

The solemn Seated Lincoln is 1 of 2 Abraham Lincoln monuments in Chicago created by Irish-born sculptor Augustus Saint-Gaudens (1848–1907) who is lauded as one of America's greatest nineteenth century artists. While some consider his Standing Lincoln in Lincoln Park superior to this sculpture, others feel that the Seated Lincoln is particularly successful for evoking the sense of loneliness that encumbered Lincoln during the Civil War.Saint-Gaudens spent twelve years on this sculpture which was finally bandage in 1908 —a year afterward his decease.

Subsequently its completion; however, the monument was not installed in Grant Park for another twenty years. Philanthropist John Crerar (1827–1889) had left a sizeable endowment for a new library and "a jumbo statue of Abraham Lincoln" years before. Even so, the site for these features proved to exist a highly contested issue. Chicago's famous architect and planner Daniel H. Burnham wanted to install the Abraham Lincoln, along with a George Washington monument, near a proposed new Field Museum edifice — intended as the centerpiece of Grant Park. The scheme was problematic because early restrictions prohibited the construction of buildings in the park. Mail-order magnate Aaron Montgomery Ward launched a series of lawsuits to protect the lakefront open space. After Ward won the final adjust in 1910, evolution of the park continued to be delayed for several years. During that period, the Seated Lincoln was displayed at the Metropolitan Museum of Art in New York and at the 1915 San Francisco Exposition. In 1924, the Southward Park Commissioners finally agreed upon the sculpture's permanent site on the north side of what would be known every bit the Courtroom of Presidents.

Ii years subsequently the bronze figure was finally erected on a 150-foot-wide marble setting designed by architect Stanford White. Although the commissioners had hoped to mirror the Lincoln with a George Washington sculpture, this was never realized, and the Seated Lincoln remains equally the only permanent monument on the Court of Presidents.

Agora

LOCATION: Due east of S. Michigan Avenue and north of E. Roosevelt Road

INSTALLED: 2006

SCULPTOR: Magdalena Abakanowicz

Comprised of 106 9-foot-alpine headless torsos, Agora is one of the well-nigh important and extensive sculptural installations in Chicago's recent history. The artwork gets its name from the Greek word for coming together place. The bandage iron figures are arranged in interesting groupings. Some are frozen in positions that propose great motion, while others announced to exist standing completely still. Most of them are in monumental crowds, although some announced to be pulling abroad from the larger group.

Valued at more than $3 million, the 2006 installation is the work of internationally-acclaimed sculptor Magdalena Abakanowicz. The Parkways Foundation received generous gifts from the Smoothen Ministry of Civilisation, Association of Fine Art Zacheta Wielkopolska, and numerous private donors for the project. Abakanowicz donated her time as did a group of dedicated Polish artists who helped her construct the pieces in Poznan, Poland.

Abakanowicz start created sculptures inspired by the human class in the 1970s. Initially working in burlap and resin, she went on to apply statuary, steel, every bit well every bit atomic number 26 —the cloth used for Agora. Fifty-fifty before this prominent project, Chicago was an important urban center to Abakanowicz. Her initial American restrospective showroom was held hither in 1982 at the Museum of Contemporary Fine art. In 2001 she exhibited 95 Figures from the Oversupply of 1 Grand-Ninety Five Figures, at the Chicago Cultural Middle. While Abakanowicz'south piece of work can be seen in museums and public spaces throughout the world, Agora is her largest permanent installation.

Artists and Automobiles

LOCATION: Court of Presidents, southward of E. Congress Parkway and due east of S. Columbus Drive

INSTALLED: 2006

SCULPTORS: Dessa Kirk, Lucy Slivinski, John Mason

In 2006, Allstate Insurance Company sponsored the Artists and Automobiles exhibit in honor of the company's 75th ceremony. The Public Art Plan of the Chicago Department of Cultural Diplomacy partnered with the Chicago Park District to organize this show which highlighted the work of five artists. Allstate provided one-time car parts that the sculptors used to create the artworks.

Today, the installations of iii of the artists remain in Grant Park. These are the works of artists Dessa Kirk, John Mason and Lucy Slivinski. Dessa Kirk's enormous ruby Lilies are made of doors, hoods, trunks and roofs from several Cadillacs. John Mason's Arise 2 presents a somewhat more abstruse version of a large flower. Lucy Slivinski'south Hedgerow is a garden feature composed of entwined mufflers, tailpipes, and headlights.

Big Beaver Totem Pole

LOCATION: North of Field Museum

INSTALLED: 1982

CARVER: Norman Tait

OWNER: Field Museum of Natural History

The Women's Board of the Field Museum of Natural History deputed the Large Beaver Totem Pole in honour of a permanent exhibit about the Maritime Peoples of the Chill and Northwest Coast which opened in 1982. Norman Tait, a member of the Nishga'a Ring, Tsimshian Tribe of British Columbia, carved the totem pole. The son of a carver, Tait (b. 1941) is committed to retaining the tribal traditions of his people. When he began carving in 1970, he studied Nishga'a artifacts and considering in that location were no living chief carvers within the tribe, he trained under Haida carvers Freda Diesing and Gerry Marks. Tait is now instruction younger generations of his family to create totem poles.Tait'south Chicago totem pole was his first permanent installation in the Americas. The fifty-five-foot-tall monument explains Tait'due south family beginnings and the origin of the beaver as its clan symbol. It depicts a legend in which five brothers go on a beaver hunt. The youngest brother discovers the spiritual powers of beavers and helps two of them escape. The Field Museum sponsored a traditional Niscga'a tribal ceremony with costumes and dancing during the unveiling of the totem pole.

Central Station Fragments

LOCATION: West of Metra Tracks and north of E. Roosevelt Route

SCULPTED: 1893

INSTALLED: 2004

ARCHITECT: Bradford L. Gilbert

OWNER: Metra

Composed of Milford granite, this pair of architectural fragments is almost entirely all that remains of Chicago'south famous Key Station, which stood at the southwest edge of Grant Park from 1893 until its sabotage in the mid-1970s. Bradford Lee Gilbert (1853–1911), who served as the consulting architect to more than a dozen railroad companies, designed the massive Romanesque manner building. It served equally a bustling station for the Illinois Central Railroad Company. These ornate granite blocks were part of an enormous arch through which passengers passed when first arriving in Chicago. Cultural historian Tim Samuelson considers these fragments a powerful symbol because the station served as a "virtual Ellis Island of the runway for hundreds of thousands of African-American southerners who escaped the kicking of Jim Crow between Earth War I and 1960." Samuelson explains that for many African-Americans who arrived in Chicago during the Smashing Migration, "catching sight of Central Station" was similar to the first glimpse of Lady Freedom" the European immigrants had when landing by boat in New York Harbor.

Chicago Stock Commutation Arch

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LOCATION: Southwest corner of Southward. Columbus Bulldoze and Due east. Monroe Street

SCULPTED: 1893

INSTALLED: 1977

SCULPTOR: Adler & Sullivan

OWNER: Art Institute of Chicago

During the belatedly nineteenth century, architect Louis Henri Sullivan (1856–1924) created a new and honest expression in the pattern of buildings, inspiring a genre known every bit Chicago School of Architecture. While many other architects adhered to fanciful historical styles which were very popular at the time, Sullivan created buildings that expressed their structural blueprint, relying only upon unproblematic and organic ornament to embellish their facades. The Chicago Stock Exchange, designed by Sullivan with his partner, Dankmar Adler, was widely considered an architectural masterpiece. Constructed in 1893, the thirteen-story edifice incorporated Sullivan'southward signature ornamentation that combined geometric forms with expressions of natural leaf.

In the 1960s and 1970s, many beautiful nineteenth century buildings in Chicago were demolished to make fashion for new development. In an attempt to inspire preservation efforts, photographer Richard Nickel (1928–1972) began to document one-time buildings as they brutal into decay or were slated for demolition. As Nickel struggled to find support to salve monuments like the Chicago Stock Substitution Building, he asserted: "Great compages has only 2 natural enemies: h2o and stupid men." Sadly, Nickel died in 1972 when a staircase collapsed on him within the Chicago Stock Exchange Edifice. Despite a stiff public movement opposing the demolition of the architectural masterpiece, the edifice was razed in 1972. Later on the demolition, the Art Institute of Chicago acquired the building's terracotta curvation, forth with several other original fragments. Using a gift from the Heller Foundation, the Art Establish installed the iconic arch in a small plaza merely northeast of the museum in 1977. Around the same time, the Art Plant opened a reconstructed version of Adler & Sullivan's Stock Substitution Trading Room as office of the museum'southward East Wing Addition.

Christopher Columbus

LOCATION: East of Southward. Columbus Drive and north of Due east. Roosevelt Road

INSTALLED: 1933

SCULPTOR: Carl Brioschi

ARCHITECT: Clarence H. Johnston

Chicagoans of Italian descent donated Grant Park'south Christopher Columbus monument, which they dedicated on Italian Day in 1933 at A Century of Progress, Chicago's second World'south Off-white. During the ceremony—attended past tens of thousands— Bishop Bernard J. Shiel blest the monument. The Depression Era monument not simply commemorated the arrival of Christopher Columbus (1451–1506) to the New Globe, just also conveyed the spirit of President Franklin Delano Roosevelt'southward New Bargain. Carl Brioschi (1879–1941) produced the bronze figurative sculpture of Columbus. Born in Milan, Brioschi received artistic preparation in Italy before immigrating to New York at the plow of the century.

He eventually settled in Minnesota, where he produced a sculptural bas-relief for the interior of the State Capitol Edifice. Brioshi collaborated with St. Paul architect Clarence H. Johnston on the design of the Christopher Columbus monument's pedestal and setting. The Art Deco way granite base features carved depictions of the Santa Maria, 1 of the three ships that sailed to the New Earth from Spain; Paolo Toscanelli, the famous astronomer and mathematician who charted the course of the journey; Columbus' tutor Amerigo Vespucci, who theorized that the world was round and for whom America was named; and the metropolis seal of Genoa, Columbus' birthplace. On the four corners of the base of operations, sculptural busts represent Faith, Backbone, Freedom, and Forcefulness.

Clarence Buckingham Memorial Fountain

LOCATION: Between S. Columbus Drive and S. Lake Shore Drive on axis with East. Congress Parkway

INSTALLED: 1927

Builder: Edward Bennett (Bennett, Parsons & Frost)

SCULPTOR: Marcel Francois Loyau

ENGINEER: Jacques H. Lambert

Completed in 1927, Clarence Buckingham Memorial Fountain is the centerpiece of Grant Park—"Chicago'due south Front Yard." Architect Edward H. Bennett (1874–1954) had envisioned a monumental fountain to serve as the park's formal focal indicate without obstructing the views of Lake Michigan. Philanthropist and art patron Kate Sturges Buckingham (1858–1937) donated one million dollars for the fountain, which was defended to her brother, Clarence.

Edward H. Bennett designed the monument in collaboration with French sculptor Marcel Loyau and engineer Jacques H. Lambert. Inspired past the Latona Basin at Versailles, the structure is composed of 4 basins clad in elaborately carved granite and pink Georgia marble. The Buckingham Fountain, however, is twice the size and re-circulates approximately iii times more water than its French counterpart. Chicago'southward fountain is also unique as it symbolizes Lake Michigan.

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Conveying the enormity of the lake, its major brandish uses equally much every bit 15,000 gallons of h2o per infinitesimal and sprays water to a superlative of 150 feet from the ground. The massive lower basin features four sets of Art Deco style sea horses representing the iv states that border Lake Michigan.To create the ocean-related bronze elements, sculptor Marcel Loyau studied the body of water equus caballus collection at a zoological institution in Paris. The fountain's sculptural elements garnered Loyau the Prix National at the 1927 Paris Salon. The monument's original design included colored lighting to emulate soft moonlight. During the dedication in August of 1927, John Philip Sousa conducted while his band played "Pomp and Circumstance" before an audience of fifty,000 people.

For years, the fountain was entirely manually operated by two engineers who each worked a twelve-hour daily shift. Although the evening lite testify was commencement automatic in 1968, the water connected to exist manually operated until 1980, when the operations were fully computerized. From 1983 to 1994, the fountain's computer was located in Atlanta. Today, however, it is on site and with a monitoring system in Arlington Heights, IL

Cadre-loc Armoring Devices

LOCATION: But west of DuSable Harbor

INSTALLED: 2000

ENGINEER: U.S. Regular army Corps of Engineers

In 2000, Westrec, the company that manages the Chicago Park Commune's harbors and marinas, installed several Core-loc armoring devices in Grant Park just west of the DuSable Harbor every bit office of a larger mural improvement projection. Although the physical objects resemble giant versions of children's toy jacks, they are actually functional shore protection devices which have been patented by the U.South. Ground forces Corps of Engineers. Hundreds of such Cadre-loc devices had previously been used to protect the wall forth the edge of DuSable Harbor. The ones placed along the park'south grassy knoll no longer serve the structural purpose for which they were designed, only they can be seen, instead, as interesting fine art objects.

Cubi VII

LOCATION: Stanley McCormick Memorial Courtroom, north of the Fine art Institute of Chicago

INSTALLED: 1963

SCULPTOR: David Smith

Possessor: Fine art Institute of Chicago

Cubi 7 is a highly respected work of abstract sculptures located in the Art Institute's northward garden. It is part of a series of 28 Cubi stainless steel outdoor sculptures owned by various collectors and cultural institutions throughout the world. Each sculpture in the series features rectangular prisms with a seemingly perilous remainder that shows the dichotomy between fabric and grade.The Cubi series is considered extremely significant in the development of twentieth century sculpture. American abstruse expressionist sculptor David Smith (1906–1965) began working on the series in 1961. He died in an car blow only after completing the concluding piece (Cubi XXVIII). At the time of its sale, Cubi XXVIII was the nigh expensive contemporary work e'er sold at auction. The Art Institute of Chicago acquired Cubi Seven from the creative person'due south manor. The calibration, geometric forms, and reflective qualities of the sculpture arrive especially attractive within its outdoor setting. Smith's preliminary cartoon of the work is as well owned by the Fine art Institute of Chicago.

Daphne

Location: Currently located on Northerly Island on the e side of the field house

Sculptor: Dessa Kirk

Installed: 2003 (Art in the Garden)

Daphne was a greek mythological effigy who was transformed into a plant or tree and then that she wouldn't be captured. The Daphne sculptures represent this through the dress of Daphne where trellis transform the sculpture into a establish. There is besides a Daphne sculpture on the median on Congress and Michigan Artery.

Hawkeye Fountains

LOCATION: Congress Plaza, east of South. Michigan Avenue at Due east. Congress Parkway

INSTALLED: 1931

SCULPTOR: Frederick Cleveland Hibbard

Flanking the due north and south sides of the Congress Plaza are twin fountains with circular pools. In the center of each, a bronze eagle with a fish in its talons appears equally though information technology is about to have flying. Frederick C. Hibbard created the sculptures in 1931, as the South Park Commissioners were completing Congress Plaza, the elegant gateway into Grant Park and the lakefront. The sculptural fountains and other mural improvements were made in time for A Century of Progress— Chicago's 2d World's Off-white—which took place in adjacent Burnham Park from 1933 to 1934. Although the eagles expect very realistic, their verticality and stylized angular lines relate to the Fine art Deco style that characterized much of the compages and sculpture at the off-white.

Built-in and raised in Canton, Missouri, Frederick C. Hibbard (1881–1950) studied electrical engineering at several universities in Missouri and at the Armour Institute of Engineering science in Chicago (after renamed the Illinois Institute of Technology). While working in Chicago every bit an electrician, Hibbard decided that he wanted to go a sculptor. He enrolled at the School of the Art Institute and went on to have a successful career producing over 70 works of permanent sculpture, including two monuments to the Confederate president Jefferson Davis. His piece of work in the Chicago parks includes bas-relief panels on the facade of the Calumet Park Fieldhouse, the David Wallach Fountain in Burnham Park, the Greene Vardiman Blackness Memorial in Lincoln Park and the Garden Figure in the Lincoln Park Conservatory.

Equestrian Indians

The Bowman and The Spearman

LOCATION: Congress Plaza, east of Southward. Michigan Avenue at E. Congress Parkway

INSTALLED: 1928

SCULPTOR: Ivan Mestrovic

Flanking Congress Plaza, these powerful male figures on horseback provide an idealized portrayal of Native Americans. Commissioned past the B.F. Ferguson Fund, they were created by Ivan Metrovic (1883–1962), an internationally-renowned Croatian sculptor who had come up to Chicago in 1926, when the Art Plant presented an exhibition of his work. Born in the Kingdom on Croatia- Slavonia, Mestrovic grew up in the mountains of Dalmatia where he worked as a shepherd and every bit an amateur to a stone mason. After a second apprenticeship with a marble carver, he received a scholarship from the Academy of Arts in Vienna during the famous Secession Motility. Later on completing his studies, he began to exhibit his works in major European cities and soon became an international celebrity. Mestrovic became friends with the French sculpture Auguste Rodin, who considered him a genius.

For the Congress Plaza commission, the artist had considered sculpting a cowboy and an Indian, simply he decided that two Native Americans would exist a more than poignant symbol "to commemorate the tribes that once roamed the Illinois prairies." Mestrovic cast the artworks in Zagreb, Croatia. He commented that although the horses represent those from his domicile more than the "American prairie warriors," they capture the vitality of Chicago. The colossal sculptures are seventeen anxiety tall and on their pedestals, which were designed by architects Holabird & Roche, they reach a height of thirty five anxiety.

The equestrian figures are poised to shoot an arrow and throw a spear; however, neither holds a weapon. Although some Chicagoans believe that the bow and spear were removed from the sculptures during renovations, they really never existed. The sculptor purposefully omitted the weapons, leaving them to the viewer'due south imagination.

Federal Building Columns

LOCATION: Cancer Survivor's Garden, due south of E. Randolph Street on axis with North. Field Boulevard

SCULPTED: 1905

RELOCATED: 1996

Builder: Henry Ives Cobb

Federal Edifice Columns

LOCATION: Cancer Survivor's Garden, south of East. Randolph Street on axis with Northward. Field Boulevard

SCULPTED: 1905

RELOCATED: 1996

Builder: Henry Ives Cobb

In 1964, the U.s. Full general Services Administration announced plans to demolish Chicago'south historic Federal Building and supplant it with a modern complex designed by Ludwig Mies van der Rohe. This decision was fabricated despite a Section of the Interior report that accounted the earlier edifice architecturally significant, structurally sound, and "capable of serving a useful purpose for many years." Completed in 1905, the elegant Beaux Arts Federal Building had housed many of the same functions that would exist provided by the new facility—a courthouse, postal service office, and offices for employees of the federal government. American builder Henry Ives Cobb designed the building which had a serial of Corinthian columns lining the upper porticos beneath a massive domed rotunda.

When the structure came down in the mid 1960s, members of the newly- founded Chicago Architecture Foundation salvaged two columns. They remained in storage until 1996, when the Chicago Park District incorporated them into the design for Grant Park's Cancer Survivor'due south Garden, which was funded in part by a gift from Annette and Richard Bloch. The forty-pes-tall columns are on axis with the classical columns of the Field Museum of Natural History located at the far s stop of Grant Park.

Flight Dragon

LOCATION: Stanley McCormick Memorial Court, north of the Fine art Institute of Chicago

SCULPTED: 1975

INSTALLED: 1991

SCULPTOR: Alexander Calder

Owner: Art Establish of Chicago

This sculpture was the get-go to be added to the north garden of the Art Institute afterward landscape architect Laurie Olin redesigned the area in 1991. It is the piece of work of celebrated American creative person Alexander Calder (1898–1976). Although Calder is best known for his small mobile sculptures, the monumental work he produced near the end of his career should not exist disregarded. Flying Dragon, which Calder executed in 1975, is considered a stabile. Unlike Calder'south famous kinetic mobiles, his stabiles are stationary sculptures

made of fixed elements, although they can withal be dynamic and animated. The artist coated the stainless steel Flying Dragon in his signature red-orangish colour, which he as well used for his giant Flamingo in Chicago's Federal Court Plaza. Calder'due south piece of work spanned about 50 years.

In addition to many monumental public sculptures dating to the end of Calder'south career, several pieces that broadly represent the full scope of his piece of work tin can be seen in Chicago in the collection of the Museum of Gimmicky Art. Flying Dragon is idea to be the last stabile that Calder personally created. Completed in 1975, the artist died less than a twelvemonth afterward at the age of seventy-8. A gift of Mr. and Mrs. Sidney L. Port made this conquering possible.

Fountain Figures: Crane Girl, Fisher Boy, Turtle Male child, Dove Girl

LOCATION: 1 pair north and ane pair s of Clarence Buckingham Memorial Fountain

EXHIBITED: 1908 (Humboldt Park)

CAST IN Statuary: 1910

RELOCATED: 1964 (Grant Park)

SCULPTOR: Leonard Crunelle

Crane Girl, Fisher Male child, Turtle Boy, and Pigeon Girl are four delicate-looking bronze figures— each continuing in the center of its own circular fountain with the associated animal its feet. Crane Girl and Fisher Male child are due north of the Clarence Buckingham Memorial Fountain while Turtle Boy and Dove Daughter are to the southward.

Leonard Crunelle (1872–1945), an artist peculiarly well-known for sculpting figures of children, created the four Fountain Figures. Full-size plaster models of these sculptures were originally displayed in a 1908 outdoor fine art exhibition in Humboldt Park. The Chicago Tribune explained that the purpose of this exhibit was to "demonstrate the beauties and the wonderful possibilities of a skillful combination of landscape gardening and sculpture." Jens Jensen (1860–1951), who is now recognized as the dean of the Prairie way in landscape architecture, placed the figures at the iv corners of a rectangular reflecting pool in the centre of Humboldt Park's circular rose garden. At the time of the exhibit, a mag article suggested that the Fountain Figures "entreatment to the kittenish fancy," in everyone.

The plaster versions of the Fountain Figures were then well-received that the West Park Commissioners shortly had them recast in bronze for permanent installation. The whimsical Fountain Figures remained in their original location until the early 1950s, when they were defaced past vandals. The sculptures went into storage for more than a decade until 1964, when the Chicago Park District installed them in the four round fountains as office of a new Grant Park Rose Garden. In addition to the Crane Daughter, Fisher Boy, Turtle Male child, and Dove Daughter, Crunelle's extant works in Chicago include the Richard Oglesby Monument in Lincoln Park, the Victory Monument on Martin Luther King Drive, and sculptural relief panels on the doors of the Museum of Science and Industry.

Fountain of the Peachy Lakes

Spirit of the Keen Lakes

LOCATION: Southward Garden of the Fine art Institute of Chicago

INSTALLED: 1913

SCULPTOR: Lorado Taft

RELOCATED: 1963

Possessor: Art Institute of Chicago

In the late 1890s, acclaimed Chicago sculptor Lorado Taft (1860–1936) began envisioning a awe-inspiring fountain of nymphs and flowing water. In 1899, he had his female students create a temporary plaster model of a nymph fountain on the backyard outside of the Art Establish of Chicago to arm-twist responses from the public. Although some did not corroborate of the scantily- dressed female figures, others responded favorably. Mayor Carter Harrison said, "It is non in any sense objectionable. It is beautiful and creative."

A few years later, Taft followed the same theme to create the Fountain of the Great Lakes. Five bronze nymphs depicted in draped clothing correspond each of America's Great Lakes. Positioned in the same configuration equally the

Cracking Lakes, the figures each concur a shell and spill water to the next, emulating the flow of the vast Midwestern fresh water system. Completed in 1913, Taft'south Fountain of the Great Lakes was the offset committee of Benjamin F. Ferguson Fund, which had been established several years earlier to foster the placement of bronze and monuments along the boulevards and in other public places in Chicago. The fountain originally stood in front of the Fine art Institute'due south sometime south wall.

Information technology remained in this location until 1963, when the Art Institute of Chicago completed its Morton E Wing addition. At that time, the Fountain of the Great Lakes was moved to a perpendicular position, adjacent to the new wing's west wall. Unfortunately, sited at this location, the monument'due south original bas-relief sculpture of art patron B.F. Ferguson is obscured from public view.

John Alexander Logan Monument

LOCATION: Eastward of S. Michigan Avenue at E. ninth Street INSTALLED: 1897

SCULPTORS: Augustus Saint-Gaudens and Alexander Phimister Proctor

Illinois-born John Alexander Logan (1826–1886) was a remarkable war hero and political figure. After serving in the Mexican-American War, Logan studied and skilful law, served several terms every bit a Democratic Illinois State Representative and and then equally a The states Congressman. Logan entered the Ceremonious War as a colonel and quickly work his manner up to the rank of general. After the war, he switched parties and represented Illinois in the United States Firm of Representative and the Senate for several terms as a Republican. Nominated for Vice President on John Blaine's ticket in 1884, the ii were non elected. Logan did, notwithstanding; achieve smashing fame equally caput of the Grand Army of the Republic, an organization of Marriage Ground forces veterans. On behalf of this organization, he recommended the creation of Memorial Solar day, known originally every bit Decoration 24-hour interval, and first observed on May 30, 1868.

Presently after Logan'south death in 1886, the Illinois state legislature appropriated funds to create a memorial to him in Chicago. The South Park Commission provided the site and the granite base. The monument had been intended as the burial identify for Logan and his wife. Although his widow planned to have his remains moved to the tomb from Washington D.C. along with her trunk afterwards her death, this never occurred. As a issue, the tomb has ever been empty.

Renowned creative person Augustus Saint-Gaudens (1848–1907) sculpted the bronze figure of Logan, while Alexander Phimister Proctor (1862–1950) created the horse. Proctor was an observer of American wilderness and a sculptor who had exhibited his work at the World's Columbian Exposition in 1893. The Full general John Alexander Logan Monument is among the city'southward about recognizable sculptures, particularly since it sits above the hill-similar tomb. A wreath laying anniversary is often held at the monument on Memorial Day, prior to the urban center's annual parade, which is one of the largest in the nation.

Large Interior Form

LOCATION: Stanley McCormick Memorial Court, north of the Art Institute of Chicago

SCULPTED: 1982

INSTALLED: 1983

SCULPTOR: Henry Moore OWNER: Art Found of Chicago

Henry Moore (1898–1986), one of the nigh influential artists of the twentieth century, became well-known throughout the world for his large modern sculptural works. Many of them, including this bronze piece, are abstruse representations of the human figure. According to architect and museum curator A. James Speyer, Moore was "...not directly concerned with portraiture or anatomy, just with the generalized pregnant associated with the homo presence, a presence which infuses all of Moore's piece of work, however abstracted the forms appear." He went on to explain that "Large Interior Form epitomizes Moore's primary concerns, simultaneously embodying mass and void, gravity and growth, and human and nature."

An English language artist who first exhibited in Europe in 1928, Moore began to garner international attending in the 1930s. In 1947, the Art Institute of Chicago was only the second venue for Moore's first exhibition in the U.s.a.. Large Interior Grade was a gift to The Art Establish from the Henry Moore Foundation of Hertfordshire, United Kingdom. The sixteen- foot-nine-inch tall sculpture is one of six productions of the same sculpture. Moore oftentimes included large gaps in his pieces to emphasize organic three- dimensionality. The three holes in this piece were inspired past pebbles he found by the ocean. When the Art Institute of Chicago received the slice in 1983, it held a calendar month-long exhibition of ten small-scale sculptures and maquettes by Moore to gloat the acquisition.

Lions

LOCATION: East of S. Michigan Avenue at E. Adams Street, flanking Art Institute of Chicago

SCULPTED: 1893

RECAST IN Bronze: 1894

SCULPTOR: Edward Kemeys

OWNER: Art Institute of Chicago

Flanking the forepart entrance to the Art Institute of Chicago, Edward Kemeys' Lions are among the metropolis's near beloved and recognizable sculptures. A largely cocky-taught artist, Edward Kemeys (1843–1907) became famous for his sculptures of wildlife. He was considered the leader of the American animaliers — an creative move that began in French republic in the mid-nineteenth century in which artists studied living animals to inform their sculpture.

Kemeys first established a studio in Chicago in 1892. The following year, the World's Columbian Exposition in Jackson Park showcased twelve of his sculptures including massive jaguars, bears, bison, and temporary versions of these lions. Like nigh of the other exposition artworks, the Lions were originally composed of plaster. During the off-white, they flanked the primary entrance to the Fine Arts Palace — now the Museum of Scientific discipline and Industry.

Shortly after the fair closed, Mrs. Henry Field donated funds to recast the Lions in statuary and install them in front of the Art Institute'southward new building in Grant Park. Prior to their official dedication in 1894, the Chicago Tribune reported that Mr. Kemeys said that the Lions were "...conceived as guarding the building." He explained that the s king of beasts is "attracted by something in the distance which he is closely watching," and that the north lion "has his support, and is fix for a roar and a spring."

Magdalene

LOCATION: Congress Plaza, due east of S. Michigan Avenue at E. Congress Parkway

INSTALLED: 2005

SCULPTOR: Dessa Kirk

OWNER: Dessa Kirk

Dessa Kirk's Magdalene is located on the small triangular mural at the intersection of Congress Parkway and Michigan Avenue. Kirk created this sculpture specifically for this site. In the springtime tulips line the female figure's feet, and in the summertime the sculpture becomes part of the surrounding garden, as vines and flowers fill up up the skirt of her dress. Dessa Kirk produced this artwork later the success of her before Daphne sculptures. These three similar sculptures were role of the Chicago Park Commune'south 2004 Art in the Garden exhibit in Grant Park and later moved to Northerly Island.

Kirk spent her youth in Anchorage, Alaska. During the summers, she lived with her grandfather in an erstwhile Alaskan mining village. He encouraged her to experiment with welding and other metal constructions. Later receiving a scholarship to the Schoolhouse of Art Institute of Chicago in 1992, she decided to make Chicago her home. In improver to several public works in Chicago — often composed of welded motorcar parts — Kirk has installations in Columbus, Indiana; Three Oaks, Michigan; and Anchorage, Alaska.

Man with Fish

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LOCATION: Southwest of the entrance of Shedd Aquarium

INSTALLED: 2001

SCULPTOR: Stephan Balkenhol

Possessor: John Chiliad. Shedd Aquarium

A souvenir to the Shedd Aquarium from William Due north. Sick in accolade of his wife, Stephanie, Man with Fish was installed in 2001. The painted bronze sculpture portrays a man with his arms wrapped effectually an enormous fish. Water sprays from the fish'south mouth, dripping into a reflecting pool beneath. The floor of the basin has colorful bounding main-life imagery.

Stephan Balkenhol (b. 1957), a High german sculptor who studied at the Hamburg School of Fine Arts created Homo with Fish. Balkenhol is best known for his minimalist and conceptualist works. His early on sculptures consisted mainly of nudes, presented in classical Roman, Greek and Egyptian styles. Since the 1980s, however, his sculpture has largely portrayed ordinary men and women in everyday depictions, sometimes with a surprising or calorie-free-hearted twist. Several of Balkenhol'southward works feature man figures with an animal or several animals and convey this playful approach, such every bit Man with Fish or Small Human being with Giraffe which stands in front of the Hamburg Zoo. Balkenhol has exhibited his work widely throughout Europe and the Usa at major cultural institutions such equally the Saatchi Collection in London and the Hirshhorn Museum and Sculpture Garden in Washington D.C.

Olmec Head

LOCATION: Due east Side of Field Museum of Natural History INSTALLED: 2000

REPRODUCTION: Ignacio Perez Solano

Owner: Field Museum of Natural History

This large reproduction of a 3,000-year-old sculpture was a gift from the authorities of Veracruz, a state in southeastern United mexican states. Veracruz was the dwelling house of the pre-Columbian Olmec people who existed from 1200 to 800 B.C.Eastward. This ancient civilization — the start to build religious centers — is also known for producing small jade artworks and large heads similar this reproduction which is located just e of the Field Museum. Archeologists have discovered a total of seventeen big heads believed to have come from the Olmec.

This seven-foot-tall carved stone piece, created by Ignacio Perez Solano, is one of several replicas of Olmec Head Number 8 that can exist found outside of Mexico. Along with boosted colossal heads and other artifacts, the original Olmec Caput Number 8 is located at the Museum of Anthropology in Xalapa, Veracruz. The first enormous rock head was found during a 1939 excavation. The Veracruz museum was founded in office to house and preserve the region's vast Olmec collection. The Field Museum's replica weighs 7 tons. Its acquisition coincided with the design for the Hall of the Americas at the Field Museum.

Paris Metro Entryway

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LOCATION: East S. Michigan Avenue at E. Van Buren Street

SCULPTED: 1900

REPRODUCTION Cast AND INSTALLED: 2003 ARCHITECT: Hector Guimard

Possessor: City of Chicago

This twenty-first century entrance to Chicago's Metra railroad train at Michigan Artery and Van Buren Street harkens back to the historic Metro entrances of Paris, designed past Hector Guimard. Often considered the quintessential French Art Nouveau artist and architect, Guimard (1867–1942) developed highly stylized designs with floral and curvilinear motifs between the 1890s and 1920s. Guimard was an advocate for industrial standardization before this was a common notion, and he believed in executing projects on a g public scale. He designed a series of Art Nouveau manner Metro entranceways for Paris in 1900.

The Parisian transit authorisation, the RATP, created this reproduction from Guimard'south original molds. The RATP and the Marriage League Club of Chicago donated this station to forge a visual connection betwixt Chicago and its Sis City, Paris. They also created reproductions for ii of Paris's other Sister Cities, Lisbon and Mexico Metropolis. Although completed in 2003, Chicago's Paris Metro Entryway was not officially defended until Bastille Day, 2005. The City of Chicago's Public Art Program not only co-sponsored this project, merely also presents an on-going series of creative person projects which are displayed on the station's Michigan Avenue sign lath. The Fine art Nouvea style metalwork was created from molds taken from an Paris original Metro station by Hector Guimard, 2009.

Reading Cones

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LOCATION: Butler Field, south of E. Monroe Drive SCULPTED: 1988

INSTALLED IN GRANT PARK: 1990

SCULPTOR: Richard Serra

Possessor: City of Chicago

Richard Serra (b. 1939), one of America'due south nearly renowned living artists, created this large-scale minimalist sculpture. The son of a San Francisco pipe fitter, Serra worked for several years in West Coast shipyards and steel mills before receiving an MFA from Yale University. He went on to receive a Yale Traveling Fellowship and a Fulbright grant which allowed him to study art in Paris and Florence. Serra became known for constructing sculptures from industrial materials, particularly large sheets of metallic known every bit "Cor-10" or "weathering" steel. This material has a surface that looks rusty, but in fact resists corrosion and does not need to be painted. Because of the large and abstract forms and their rusty finish, many of Serra's sculptures have been considered controversial.

Reading Cones — named for the town in which it was made, Reading, Pennsylvania — is a proficient example of Serra's signature minimalist metal sculptures. It is composed of 2 freestanding seventeen-foot-alpine curved walls of "Cor-Ten" steel that stand just far plenty autonomously to permit a person to walk between them. On centrality with the Clarence Buckingham Memorial Fountain, the open space between the two metallic walls of Reading Cones frames an unexpected view, providing an interesting dissimilarity between sometime and newer artworks. The Leo Burnett Company officially donated Reading Cones to the City of Chicago in 1990. At that time, its placement in Grant Park was considered temporary considering urban center officials had planned to relocate the sculpture to the entrance of State Street Mall, which was and so under renovation. Although the State Street Project was completed in 1996, the thirty-two ton Serra sculpture remains in its Grant Park location.

Rosenberg Fountain

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LOCATION: Eastward of S.Michigan Avenue at East. 11th Street INSTALLED: 1893

SCULPTOR: Franz Machtl

ARCHITECTS: Bauer & Hill

Joseph Rosenberg (1848–1891) left a bequest for a fountain in Chicago "to provide the thirsty with a drink." Growing up in Chicago and working as a newsboy, Rosenberg could never convince local merchants to spare him some h2o. As a event, he vowed that if he were ever wealthy, he would create a fountain where newsboys could get a beverage on a hot mean solar day. He after moved to San Francisco and fabricated a fortune, never forgetting this vow. He left a $ten,000 heritance for an ornamental drinking fountain, and asked that it be erected on a prominent corner somewhere on the south side of Chicago. The Due south Park Commissioners accepted the donation and installed the monument on the southwest end of Grant Park well-nigh his childhood home on South Michigan Avenue.

This monument remains today as an ornamental fountain, but it no longer provides drinking h2o. The structure emulates a classical Greek temple in miniature. Its lower columned pedestal, which houses the fountain, was designed by Chicago-based architects Bauer & Hill and serves every bit a base of operations for the sculpture. The 11-pes-alpine bronze figure represents Hebe, daughter of Zeus and Hera. The goddess of youth and cupbearer to the gods, she symbolizes rejuvenation. German artist Franz Machtl sculpted the statuary figure of the goddess which was cast in Munich.

The original conception for the sculpture was to describe Hebe in the nude. The executors of the volition, however, were worried that some visitors might exist offended, and they did not want to tarnish to the memory of Joseph Rosenberg. They thus decided to present the goddess in draped clothing. The female effigy holds a loving cup in one hand and pitcher in the other—a pose consistent with many other neoclassical depictions of Hebe. In 2004, the Chicago Park District restored the fountain and its sculpture. The Goddess of Youth fountain in the Lincoln Park Conservatory as well depicts the goddess Hebe.

Sir Georg Solti Bust

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LOCATION: East of S. Michigan Avenue, south of E. Jackson Drive

INSTALLED: 1987 (Lincoln Park)

RELOCATED: 2006 (Grant Park)

SCULPTOR: Dame Elisabeth Frink

Sir Georg Solti (1912–1997) was a earth-renowned orchestra conductor and xxx-ii-fourth dimension Grammy Award winner who brought new life to the Chicago Symphony Orchestra in the 1960s. Born and trained in Budapest, Solti conducted orchestras in major cities throughout Europe and served as the music director of the Los Angeles Philharmonic before becoming the first Music Director Laureate of the Chicago Symphony Orchestra from 1969 to 1991. During that period, he conducted a total of 999 performances. He intended to acquit his i thousandth performance in honour of his eighty-5th birthday, but he died a few weeks beforehand.

Recognizing his importance to Chicago, Solti once said, "They should erect a statue to me." A group of individual donors made Solti's wish come true. The group raised approximately $30,000 to commission Dame Elisabeth Frink (1930–1993), a British artist known for her bronze figurative sculptures, to produce the bust of the legendary usher. After being briefly displayed at London's Imperial Opera House, the bronze bust was installed in front of the Lincoln Park Solarium on the maestro's seventy-fifth birthday in 1987. In 2006, the artwork was relocated to the newly-designed Solti Garden in Grant Park, and placed on a new dark granite base. Chicago's showtime lady Maggie Daley and Lady Valerie Solti, Sir George's widow, were present at the rededication ceremony. The Grant Park Conservancy co- sponsored the new garden and relocation of the monument. In its new site, the Solti bust distantly faces the Spirit of Music, which honors another legendary Chicago Symphony Orchestra conductor, Theodore Thomas.

Spirit of Music

Theodore Thomas Memorial

LOCATION: East of S. Michigan Artery and north of E. Balbo Drive

SCULPTED: 1923

RELOCATED: 1941, 1958, 1991

SCULPTOR: Albin Polasek

Architect: Howard Van Doren Shaw

The Spirit of Music honors Theodore Thomas (1835–1905), first conductor of the Chicago Symphony Orchestra (CSO). Born in Federal republic of germany, Thomas was a respected violinist and conductor who settled in Chicago in 1889 to help constitute the city'southward first permanent orchestra. After performing in the Auditorium Theatre for many years, Thomas accomplished his dream of building a permanent home for the CSO. The Burnham-designed Orchestra Hall was dedicated in December 1904, but a few weeks before Thomas died. Fourteen years later, the B.F. Ferguson Fund commissioned Czech immigrant Albin Polasek (1879–1965), a talented

creative person who headed the sculpture department at the Schoolhouse of the Fine art Institute, to create the monument. The 14-foot-tall bronze muse is depicted belongings a lyre. According to Polasek, the face behind the mask on the lyre is modeled afterward his ain. American builder Howard Van Doren Shaw (1869–1926) collaborated with Polasek on the monument'southward granite exedra and demote. Stretching across the low forty-foot-long wall behind the bronze figure, the exedra portrays members of the orchestra playing their instruments in sculptural relief.

Over the years, the sculpture was moved to several different locations in Grant Park. Originally erected but south of the Art Institute, facing Orchestra Hall in 1923, it was first relocated in 1941 when museum's south garden underwent major renovations. At that time, the statuary figure was removed from its exedra and symmetrically placed in front of a classically-designed peristyle about Randolph Street. In 1958, the statuary sculpture was moved once more — still without its original backdrop — nearly the Buckingham Fountain. In the early 1990s, a lakefront jogger discovered pieces of the artwork'due south original carved granite exedra along the edge of Lake Michigan. The Chicago Park Commune presently retrieved them, restored the sculpture and exedra, and installed the monument at a new location at Balbo Drive and Michigan Avenue. The Park District went on to create the adjacent Spirit of Music Garden, now the popluar venue for Chicago's almanac Summer Dance serial.

The Artists Monument

Making it all the way from the Whitney Museum of American Art in New York, Tony Tasset's "Artists Monument" was unveiled this Sat in Grant Park by the Chicago Park District. The 80ft long and 8ft tall multicolored sculpture is listed with the names of 392,485 artists. Tasset mentioned in a spoken communication at the reception that if yous ask a person on the street to proper name a contemporary creative person they may say Andy Warhol or Picasso. "Artists Monument" was made to accolade all the other contemporary artists that may not always get the social recognition they deserve. The sculpture will be on display in the park until it moves to its permanent dwelling house at the University of Illinois Chicago where Tasset has taught for 27 years

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Source: https://www.grantparkconservancy.com/sculptures

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