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Animal Sculpture in the
Folk Tradition
May 28 - July 24, 2005
(above: Unidentified artist, Standing
Dalmatian, c. 1880-1890, wood and paint. Private Collection)
The Brandywine River
Museum is presenting Animal Sculpture in the Folk Tradition, an exhibition
bringing together outstanding examples of folk sculpture from museums and
private collections. It opens with the Volunteers' Antiques Show on May
28 and continues through July 24, 2005.
The term "folk art" was coined by artists and
collectors in the early 20th century to describe an array of traditional
and beautifully decorated, yet common, objects. They believed that in these
objects the true origins of American art resided. Simple in form, the items
often express the maker's strong sense of design, imagination and innovation.
Over time, some types of folk-carved and embellished household items were
transformed from merely decorative items into sculptural works of art. (right:
Herter's Company,Waseca, Minnesota, Great Horned Owl, c. 1940, balsa
wood, paint, glass and claw. Milwaukee Art Museum: The Michael and Julie
Hall Collection of American Folk Art. In the past, farmers believed that
crows destroyed crops. This hand-finished owl decoy was manufactured
by the Herter's Company to lure crows within shotgun range.)
Much carved wooden sculpture was created by farmers, carpenters,
sailors and tradesmen in their leisure hours. The objects often decorated
their homes or were presented as gifts. Consequently, many works were not
signed, and the makers of existing folk sculpture are frequently anonymous.
Artists looked to the ordinary for subject matter, and
they used everyday tools to carve the forms of animals with which they were
familiar. This exhibition presents a fascinating selection of such folk
sculpture, encouraging an examination of diverse carving styles and creative
designs.
The eagle was a favorite theme for carvers, including one
of the most noted folk sculptors of the 19th century, Wilhelm Schimmel (1817-1890).
His eagles vary in size from mere inches to several feet. Eagles were his
signature pieces, but Schimmel is also known for representations of other
animals such as roosters, parrots and lions.
Birds frequently appeared in Pennsylvania-German art. A
bird tree is a sculpture that places intricately carved birds of various
species within the framework of a highly stylized, yet often lavishly carved
treelike support. The bird tree in the exhibition is an excellent example
from the late 19th century. The birds, painted in reds, yellows, browns
and blacks, are attached to the ornate tree with coils of wire, allowing
them to bob gently on the branches when the tree is moved.
Since medieval times, the rabbit has been
associated with rebirth and fertility and, like the bird, is a harbinger
of spring in rural communities. Pennsylvania-German farmers depicted the
rabbit in chalkware, paintings, wood carvings and other media used by folk
artists. The large, wooden rabbit in the exhibition is purely decorative.
(left: Wilhelm Schimmel (1817-1890), Eagle, c. 1870-1890,
wood and paint. Collection of the Brandywine River Museum. Gift in honor
of Harry G. Haskell by his family, 1993. Declared the national emblem by
the Continental Congress in 1782, the eagle was a favorite theme of carvers. The
eagle was the signature form of Wilhelm Schimmel, one of the foremost folk
carvers of the 19th century.)
Many folk artists focused on single objects that took advantage
of the natural, undulating forms they found in tree roots and, with minimal
sculpting, polishing, and painting, created root snakes. The root snake
in the exhibition is painted with a beautiful, spotted pattern, and its
charm is heightened by a protruding red leather tongue.
Edgar Alexander McKillop (1879-1950) was known for a wide
range of carvings using walnut wood which he enhanced with bone teeth and
glass eyes. Animals were his favorite theme; his highly finished yet chunky
carvings emphasize the inherent qualities of his subjects. His squirrel
is a fine example of his stylized carving.
Gray Eagle, a Native-American artist, created objects that
are faithful to animals' natural shapes. Gray Eagle's carving of a green,
yellow and red box turtle was used as an ice fishing decoy. It is a notable
feature of the exhibition, as is another decoy, the Great Horned Owl,
originally created by the Herter's Company of Waseca, Minnesota. The solid
form of the owl is painted with brown horizontal striations that resemble
ruffled breast feathers. The wide glass eyes and sharp beak give the figure
a predatory air.
The animal most often represented in American folk art
is the dog. The carver of the Dalmatian here clearly captured the dog's
energetic pose. Alert and ready to play, the mouth is parted in an amiable
smile, and the tail is captured in mid-wag.
Whether created to while away leisure hours, for decoration,
or for utilitarian purposes, all of the works included in Animal Sculpture
in the Folk Tradition demonstrate the whimsical charm and diverse beauty
of folk sculpture.
Exhibit wall text
The term "folk art" was coined by artists and
collectors of the 20th century to describe an array of traditional and beautifully
decorated, yet common, objects. They believed that the origins of American
art resided in these diverse objects, including carved wooden sculpture.
Farmers, carpenters, sailors, tradesmen, and other folk
in the 19th and early 20th centuries produced carvings during their leisure
hours or "off-season" and used them to decorate their homes or
presented them as gifts. Consequently, many of the works were not signed;
the makers of existing folk sculpture are frequently anonymous.
Carvers looked to the ordinary for subject matter. Using
everyday tools, they often formed the shapes of animals with which they
were familiar. Some created highly detailed figures. Others took advantage
of the natural forms of wood. Some embellished sculptures with paint, leather,
glass, metal, or organic materials. All, however, worked to capture the
essence of various animals and produced seemingly endless variations that
display imagination, innovation, and whimsical charm.
Exhibit object labels
- Unidentified artist
- Monkey, c. 1900
- Wood, paint, glass, rope and nails
- Milwaukee Art Museum: The Michael and Julie Hall Collection
of American Folk Art
-
- The face of this carved monkey seems eerily human, differing
from the human visage only because of the piercing gaze of its marble eyes
and its snarling mouth filled with sharp teeth. The holes in its hands
suggest that the monkey may have originally hung from a rope or pole, perhaps
as part of a circus scene.
-
- Unidentified artist (Great Lakes Region)
- Monkey, c. 1925-1950
- Wood, paint, stain, leather and nails
- Collection of the American Folk Art Museum, New York
- Gift of Robert Bishop
-
- Artist Unknown
- Squirrel, c. 1930
- Carved wood, varnish and beads
- Milwaukee Art Museum: The Michael and Julie Hall Collection
of American Folk Art
-
- Edgar Alexander McKillop
- Squirrel, 1928-1935
- Carved walnut, ivory and glass
- Philadelphia Museum of Art: Purchased with the Joseph
E. Temple Fund and the Butler Family Fund, 1998
-
- Edgar Alexander McKillop
- Mountain Lion, c. 1935-1938
- Black walnut and yellow glass
- Philadelphia Museum of Art: Gift of Melanie Gill in memory
of her husband, Robert Lee Gill, and in honor of Jack L. Lindsey
-
- Edgar Alexander McKillop began carving after receiving
the wood of four black-walnut trees. Animals were his favorite theme. His
highly finished yet chunky carvings seem to be caricatures that emphasize
the inherent characteristics of his subjects.
-
- Herter's Company, Waseca, Minnesota
- Great Horned Owl, c. 1940
- Balsa wood, paint, glass and claw
- Milwaukee Art Museum: The Michael and Julie Hall Collection
of American Folk Art
-
- In the past, farmers believed that crows destroyed crops.
This hand-finished owl decoy was manufactured by the Herter's Company to
lure crows within shotgun range.
-
- Unidentified artist (Maine)
- Owl, early 20th century
- Wood, paint and leather
- Collection of Kate Manko, Moody, Maine
-
- Unidentified artist
- Owl, mid 19th century
- Wood and paint
- Private Collection
-
- Unidentified artist (Maine)
- Deer, c. 1880
- Wood, nails, paint and glue
- Milwaukee Art Museum: The Michael and Julie Hall Collection
of American Folk Art
-
- Unidentified artist
- Groundhog, c. 1800-1850
- Pine, paint, leather and resin
- Philadelphia Museum of Art: Titus C. Geesey Collection,
1955
-
- Unidentified artist (Maine)
- Bear on a Log, 1930s
- Various woods
- Collection of Kate Manko, Moody, Maine
-
- Unidentified artist (Michigan)
- "Watermelon" Fish Lure,
1940s
- Wood, paint and tin
- Collection of Kristina Johnson
-
- Unidentified artist (Michigan)
- Button Fish, 1930s
- Wood, paint, shells, and buttons
- Collection of Kristina Johnson
- Unidentified artist
- Fish Weathervane, 19th century
- Wood, paint, gilding, copper fins and glass
- Private Collection
-
- The fish was a common theme among the artists of New
England, the Midwest and other areas where fishing industries ensured a
livelihood. In addition to their use as fishing decoys, fish forms were
the subjects of trade signs and weather vanes.
-
- Unidentified artist
- Black Stallion, 1930s
- Wood and paint
- Collection of Kristina Johnson
-
- Unidentified artist
- White Stallion, 1930s
- Wood and paint
- Collection of Kristina Johnson
-
- Unidentified artist
- Flying Horse, late 19th century
- Wood and paint
- Private Collection
-
- Unidentified artist
- Thoroughbred Horse, late
19th century
- Wood and paint
- Milwaukee Art Museum: The Michael and Julie Hall Collection
of American Folk Art
-
- Because it was an integral part of life, the horse was
often the theme of trade signs, weathervanes, children's toys and decorative
carvings.
-
- Wilhelm Schimmel (1817-1890)
- Rooster, 1860-1890
- Pine and paint
- Collection of the American Folk Art Museum, New York
- Gift of Ralph Esmerian
-
- Unidentified artist
- Walking Rooster, 19th century
- Wood, paint and leather
- Collection of the American Folk Art Museum, New York
- Gift of Dorothea and Leo Rabkin
-
- Unidentified artist
- Turtle, 19th century
- Wood and paint
- Collection of the American Folk Art Museum, New York
- Gift of Herbert Waide Hemphill, Jr. in the name of Neal
Adair Prince
-
- Gray Eagle (Midwest)
- Tortoise Decoy, 20th century
- Wood and paint
- Collection of Kristina Johnson
-
- This turtle was used as a "confidence decoy"
by ice-fishermen. The presence of a turtle - normally a timid reptile known
to retreat from any perceived threat - would install a false sense of security
in fish and lure them to the bait.
-
- Unidentified artist (Pennsylvania)
- Rabbit, c. 1870
- Wood and paint
- Collection of Andrea S. Keogh Works of Art, LLC
-
- Aaron Augustus "Gus" Wilson
- Spring Robin, c. 1910
- Wood, paint and metal legs
- Milwaukee Art Museum: The Michael and Julie Hall Collection
of American Folk Art
-
- A lighthouse keeper and renowned decoy carver, Aaron
Augustus "Gus" Wilson also carved songbirds and other animals
throughout his life. This robin's slightly parted, incised beak is characteristic
of Wilson's realistically detailed style.
-
- Unidentified artist (Nantucket Island, Massachusetts)
- Penguin Gatepost Ornament,
1890-1920
- Wood and paint
- Collection of the American Folk Art Museum, New York
- Bequest of Winifred P. Eichler
-
- Unidentified artist (Pennsylvania)
- Bird Tree, late 19th century
- Wood, paint and wire
- Collection of the American Folk Art Museum, New York
- Gift of Mr. and Mrs. Austin Fine
-
- In agrarian societies birds were associated with the
coming of spring and the revival of dormant land. Because birds were an
important symbol of rebirth, bird trees often were given as gifts to celebrate
a child's birth or as tokens of affection.
-
- John Scholl (1827-1916)
- Birdbath with Five Eggs,
c. 1900
- Wood and paint
- Collection of the American Folk Art Museum, New York
- Gift of Cordelia Hamilton, Dr. and Mrs. Lester Blum,
Murray Eig, and William Engvick
-
- A carpenter by trade, John Scholl whittled all his life.
His carvings typically combine familiar architectural features with traditional
Pennsylvania-German symbols.
-
- Unidentified artist
- Pigeon, 19th century
- Wood and paint
- Private Collection
-
- Wilhelm Schimmel (1817-1890)
- Eagle, c. 1870-1890
- Wood and paint
- Collection of the Brandywine River Museum
- Gift in honor of Harry G. Haskell by his family, 1993
-
- Declared the national emblem by the Continental Congress
in 1782, the eagle was a favorite theme of carvers. The eagle was the signature
form of Wilhelm Schimmel, one of the foremost folk carvers of the 19th
century.
-
- Unidentified artist
- Eagle (Pilot House Ornament),
3rd quarter of the 19th century
- Wood
- Collection of Olenka and Charles Santore
-
- Unidentified artist (Pennsylvania)
- Parrot, mid-19th century
- Wood and paint
- Collection of Olenka and Charles Santore
-
- "Schtolschnitzler" Simmons (active 1885-1910)
- Two Parakeets, c. 1900
- Wood and paint
- Private Collection
-
- Although the parrot seems a strange subject for a 19th
century carver, the Carolina Parroquet once ranged as far north as Pennsylvania.
This bird, now thought to be extinct, was the only parrot native to eastern
North America.
-
- Unidentified artist
- Dog Chasing a Raccoon
- Wood and paint
- Collection of Kristina Johnson
-
- Unidentified artist
- Standing Dalmatian, c. 1880-1890
- Wood and paint
- Private Collection
-
- Unidentified artist (Lancaster, Pennsylvania)
- Seated Dalmatian, c. 1880
- Wood and paint
- Private Collection
-
- Unidentified artist (New England)
- Standing Dog, late 19th century
- Wood and paint
- Collection of the American Folk Art Museum, New York
- Gift of Kristina Barbara Johnson
-
- Whether depicted hunting, playing, or just sitting, the
dog was a favorite subject of carvers and is the most represented animal
in American folk art.
-
- Wilhelm Schimmel (1817-1890)
- Lion, 1870-1880
- Wood and paint
- Private Collection
-
- Wilhelm Schimmel, especially known for his carvings of
eagles, parrots, and roosters, occasionally carved more exotic animals.
Carved in his typical broad, rough style, this lion is an unusual subject
within his body of work.
-
- Unidentified artist
- Lion, 19th century
- Wood and paint
- Private Collection
-
- Unidentified artist
- Lamb, late 19th century
- Wood, paint and metal
- Private Collection
-
- Unidentified artist
- Root Snake, late 19th century
- Wood, paint and leather
- Private Collection
-
- Unidentified artist
- Dotted Root Snake, late 19th
century
- Wood and paint
- Milwaukee Art Museum: The Michael and Julie Hall Collection
of American Folk Art
-
- The craftsmen who created "root snakes" took
advantage of the natural, undulating forms of tree roots. With minimal
carving, polishing, and painting, they thus created convincing reptiles.
(above left: Unidentified artist (Pennsylvania), Rabbit,
c. 1870, wood and paint. Collection of Andrea S. Keogh Works of Art, LLC;
above right: Edgar Alexander McKillop, Squirrel, 1928-1935, carved
walnut, ivory and glass. Philadelphia Museum of Art: Purchased with the
Joseph E. Temple Fund and the Butler Family Fund, 1998)
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