American Art

Literature:

Wayne Craven, Sculpture in America, Cranbury, New Jersey, 1968, pp. 384-85, another example referenced

Beatrice Gilman Proske, Brookgreen Gardens Sculpture, Murrells Inlet, South Carolina, 1968, pp. 9-11, another example illustrated

Tom Armstrong, et al., 200 Years of American Sculpture, New York, 1976, pl. 18, pp. 51, 81, another example illustrated

John H. Dryfhout, The Work of Augustus Saint-Gaudens, Hanover, New Hampshire, 1982, pp. 162-66, other examples illustrated

Marilyn Evert, Discovering Pittsburgh's Sculpture, Pittsburgh, 1983, pp. 293-94, another example illustrated

Kathryn Greenthal, Augustus Saint-Gaudens: Master Sculptor, exhibition catalogue, New York, 1985, p. 174, another example illustrated

Kathryn Greenthal, et al., American Figurative Sculpture in the Museum of Fine Arts Boston, Boston, 1986, no. 74, pp. 238-42, another example illustrated

Mary Anne Goley, Burke Wilkinson, Augustus Saint-Gaudens: American Sculptor, From the Collection of the Saint-Gaudens Historic Site, exhibition catalogue, Washington, DC, 1992, no. 24, pp. IV, VIII, another example illustrated

Thayer Tolles, ed., American Sculpture in The Metropolitan Museum of Art, vol. I, New York, 1999, no. 123, pp. 285-88, another example illustrated

Henry J. Duffy, John H. Dryfhout, Augustus Saint-Gaudens: American Sculptor of the Gilded Age, exhibition catalogue, Washington, DC, 2003, no. 39, p. 75, another example illustrated

Recognized as one of America's foremost artists of the late 19th century, Augustus Saint-Gaudens was the preeminent sculptor of the Beaux Art style. Born in 1848 in Dublin, Saint-Gaudens moved to New York City with his family as an infant. After studying art at the Cooper Union and the National Academy of Design, he went to Italy and France, where he had rigorous training that included model classical subjects from plaster casts. In 1875, he returned to New York and became part of a team of artists who did decoration in Boston for Trinity Church, designed by H.H. Richardson. He rose to fame in 1881, with his first major monument to the Civil War, that of Admiral David Glasgow Farragut, which was erected in New York’s Madison Square Park. The artist’s combination of realism and allegory caused his fame to grow, with other commissions quickly forthcoming for portrait and public monumental sculpture. By the turn of the century, his public monuments graced several major cities, and his masterful portrait reliefs were sought after by wealthy patrons.