File:Statues of Abraham Lincoln. Lincoln Memorial (1922) (14591477479).jpg

Identifier: statuxxxxxxflinc (find matches)
Title: Statues of Abraham Lincoln. Lincoln Memorial
Year: 1922 (1920s)
Authors: Lincoln Financial Foundation Collection
Subjects: French, Daniel Chester, 1850-1931 Lincoln, Abraham, 1809-1865 Presidents in art Presidents Marble sculpture, American Lincoln Memorial (Washington, D.C.) Large-scale sculpture
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Contributing Library: Lincoln Financial Foundation Collection
Digitizing Sponsor: State of Indiana through the Indiana State Library

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Metropolitan Museum of Art in New York City.After closing in Washington April 17, it will be seen atthe Detroit Institute of Arts (June 15-August 28) andat the Fogg Art Museum (September 30-November 30)in Cambridge, Massachusetts. The seated Lincoln is the nations favorite marble,and although it remains undisturbed in the Memo-rial, its weight is felt throughout this exhibition. How there came to be a seated Lincoln executed byFrench and exhibited so appropriately in a comple-mentary setting is a tale of artistic interaction thatwould be all but impossible in contemporary America. French, as a public sculptor, could not work in someremote garret; in todays terms, he worked in a gold-fish bowl. Throughout the many stages of translatingan intangible concept into tangible marble, he workedin concert with patrons, critics and studio assistants. Michael Richman, an art historian, organized the Daniel French exhibition and is editing the Daniel Chester French papers for the National Trust.
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The right hand of Abraham Lincoln, a detailfrom three-foot working model of the statue for the His every move was calculated, for he had to be adiplomat, contractor, publicist and businessman aswell as a consummate artist. Youngest of four children in a well-to-do New Eng-land family, he was born in 1850, early enough to haveheard and read reports of battles and casualties duringthe Civil War, early enough to bring his own livingperspective to the Gettysburg Address. Much of his youth was spent in Concord, Massa-chusetts, where he was introduced to sculpture byMay Alcott, sister of the popular novelist. With littleformal training and no academic study, he embarkedon a career that would bring him fame and fortune,both richly earned. By the age of 40, he had producedjust seven monuments. However, the popularity of theMinute Man in Concord and the John Harvard atHarvard University carried the late-flowering Daniel 56

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