GENERAL DESCRIPTION
In 1853, building on the international success of his celebrated statue Greek Slave, expatriate sculptor Hiram Powers began work in Rome on a full-size allegorical figure called America. In contrast to his earlier, nude work, the personification of America wore a tunic and diadem reminiscent of the classical past, linking the young United States with the republics of Greece and Rome, symbolic birthplaces of democracy.
America proved so popular with the public that private patrons commissioned at least twenty bust-length reproductions from Powers. The Dallas Museum of Art's example is not only one of the earliest busts of America but also the only one signed and dated by Powers. It exemplifies his 19th-century synthesis of the Real with the Ideal, his belief that by studying nature as she is, one can "obtain some pretty clear notions of what she ought to be." Powers has visualized our country as an idealized female figure with overtones of Juno and Minerva.
Drawn from
- Wiliam Keyse Rudolph The Pauline Gill Sullivan Associate Curator of American Art May 2006
- Gail Davitt, DMA unpublished material, 1986-1987.
NOTES
Created in 1860
Object file reviewed
America, 1860, marble, H 28" (bust): H 42" (pedestal)
One of several versions of a bust of America done by Powers, this work is the only one signed and dated by the artist. It exemplifies his 19th century synthesis of the Real with the Ideal, his belief that by studying nature as she is, one can "obtain some pretty clear notions of what she ought be be." Powers has visualized our country as an idealized female figure with overtones of Juno and Minerva.
From- Gail Davitt, biographical essays, education files, 1986-1987.
In 1853, building on the international success of his celebrated statue the "Greek Slave," expatriate sculptor Hiram Powers began work in Rome on a full-size allegorical figure called "America." In contrast to his earlier, nude work, the personification of America wore a tunic and diadem reminiscent of the classical past, linking the young United States with the republics of Greece and Rome, symbolic birthplaces of democracy.
"America" proved so popular with the public that private patrons commissioned at least twenty bust-length reproductions from Powers. The Museum's example is not only one of the earliest busts of "America" but also the only one signed and dated by Powers. Its polychrome marble base is also original to the piece. The original work of 1860 was destroyed in a warehouse fire in New York in the 1880s.
Wiliam Keyse Rudolph The Pauline Gill Sullivan Associate Curator of American Art May 2006
Catalogue essays
Artist/designers
Cultures
Geography
Depicted location and place of origin: United States (nation): TGN: 7012149
Process/materials
White marble and polychrome marble
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE Found on more than one document
From 1860: Hiram Powers
c. 1860: Mr. John Baylor Bates, Boston, Massachusetts, purchased from the artist
n.d. Consuelo Baylor Hills, great niece, by descent until 1983
1983: Hirschl & Adler Galleries, Inc., Boston, MA
From 1983: Dallas Museum of Fine Arts, gift of Eleanor and Tom May, purchased from Hirschl & Adler Galleries, Inc., Boston, MA
AUDIO ASSETS
UMO: 193852334 Gallery talk- American Portraiture- Martha MacLeod- 3/25/2015 Object number in Piction cataloging.
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- Greek Slave~The Washington, D.C. Legacy of Hiram Powers' 1840s Masterpiece~Read Evan J. Berkowitz's Smithsonian Insider blog post about the placement and recent 3-D printed replica of this sculpture.
- America, Hiram Powers, SAAM~View a full-length version of Hiram Powers' America at the Smithsonian American Art Museum.
ARCHIVAL RESOURCES
FUN FACTS
- The diadem on this bust has thirteen stars to represent the thirteen original American colonies.
TEACHING IDEAS
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General Description
In 1853, building on the international success of his celebrated statue Greek Slave, expatriate sculptor Hiram Powers began work in Rome on a full-size allegorical figure called America. In contrast to his earlier, nude work, the personification of America wore a tunic and diadem reminiscent of the classical past, linking the young United States with the republics of Greece and Rome, symbolic birthplaces of democracy.
America proved so popular with the public that private patrons commissioned at least twenty bust-length reproductions from Powers. The Dallas Museum of Art's example is not only one of the earliest busts of America but also the only one signed and dated by Powers. It exemplifies his 19th-century synthesis of the Real with the Ideal, his belief that by studying nature as she is, one can "obtain some pretty clear notions of what she ought to be." Powers has visualized our country as an idealized female figure with overtones of Juno and Minerva.
Drawn from
- Wiliam Keyse Rudolph The Pauline Gill Sullivan Associate Curator of American Art May 2006
- Gail Davitt, DMA unpublished material, 1986-1987.
Fun Facts
- The diadem on this bust has thirteen stars to represent the thirteen original American colonies.
Archival Resources
Web Resources
- Greek Slave~The Washington, D.C. Legacy of Hiram Powers' 1840s Masterpiece~Read Evan J. Berkowitz's Smithsonian Insider blog post about the placement and recent 3-D printed replica of this sculpture.
- America, Hiram Powers, SAAM~View a full-length version of Hiram Powers' America at the Smithsonian American Art Museum.
Notes
Created in 1860
Object file reviewed
America, 1860, marble, H 28" (bust): H 42" (pedestal)
One of several versions of a bust of America done by Powers, this work is the only one signed and dated by the artist. It exemplifies his 19th century synthesis of the Real with the Ideal, his belief that by studying nature as she is, one can "obtain some pretty clear notions of what she ought be be." Powers has visualized our country as an idealized female figure with overtones of Juno and Minerva.
From- Gail Davitt, biographical essays, education files, 1986-1987.
In 1853, building on the international success of his celebrated statue the "Greek Slave," expatriate sculptor Hiram Powers began work in Rome on a full-size allegorical figure called "America." In contrast to his earlier, nude work, the personification of America wore a tunic and diadem reminiscent of the classical past, linking the young United States with the republics of Greece and Rome, symbolic birthplaces of democracy.
"America" proved so popular with the public that private patrons commissioned at least twenty bust-length reproductions from Powers. The Museum's example is not only one of the earliest busts of "America" but also the only one signed and dated by Powers. Its polychrome marble base is also original to the piece. The original work of 1860 was destroyed in a warehouse fire in New York in the 1880s.
Wiliam Keyse Rudolph The Pauline Gill Sullivan Associate Curator of American Art May 2006
Catalogue essays
Artist/designers
Cultures
Geography
Depicted location and place of origin: United States (nation): TGN: 7012149
Process/materials
White marble and polychrome marble
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE Found on more than one document
From 1860: Hiram Powers
c. 1860: Mr. John Baylor Bates, Boston, Massachusetts, purchased from the artist
n.d. Consuelo Baylor Hills, great niece, by descent until 1983
1983: Hirschl & Adler Galleries, Inc., Boston, MA
From 1983: Dallas Museum of Fine Arts, gift of Eleanor and Tom May, purchased from Hirschl & Adler Galleries, Inc., Boston, MA
AUDIO ASSETS
UMO: 193852334 Gallery talk- American Portraiture- Martha MacLeod- 3/25/2015 Object number in Piction cataloging.
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