Sketches to Sculptures: Rendered Reality,

Sixty Years with Marshall M. Fredericks

February 12 to June 12, 2010

Teacher’s Guide

Marshall M. Fredericks Sculpture Museum

Saginaw Valley State University

7400 Bay Rd.

University Center, MI 48710

www.marshallfredericks.org

(989) 964-7125

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Sketches to Sculptures: Rendered Reality,

Sixty Years with Marshall M. Fredericks

The Marshall M. Fredericks Sculpture Museum curated a traveling exhibition as part of the Strategic Plan

2008-2010. Now with the archives available for research and the museum collection accessioned, this exhi-

bition has become a reality. Co-curated by Melissa Ford, Archivist C.A. and Geoffe Haney, Registrar, the exhibi-

tion includes 36 drawings, 1 photograph and 33 sculptures. Each piece of sculpture has at least one drawing

that is paired with it. Some sculptures may have as many as 3 or 4 drawings exhibited with it. Drawings range

from small sketches from sketchbooks to larger presentation drawings in pastel, watercolor, crayon or pencil.

The exhibition centers on Fredericks' thinking and artistic process. Many of the drawings include

handwritten notes by Fredericks which articulate his ideas about particular sculptures. Several of the draw-

ings depict alternate ideas for extant sculptures which were either rejected by Fredericks or the client and

provide a unique insight into the design process.

This traveling exhibition is available for rental after July 2010. For more information about renting this

exhibition contact Marilyn Wheaton, Director at (989) 964-7154.

Information on the Marshall M. Fredericks Sculpture Museum Location: The Marshall M. Fredericks Sculpture Museum is located on the campus of Saginaw Valley State

University in the Arbury Fine Arts Center, 7400 Bay Rd., University Center, MI 48710.

Contact Information: Phone…………..… (989) 964-7125

Fax………………… (989) 964-7221

Email………………. mfsm@svsu.edu

Website………...… www.marshallfredericks.org

The Collection: The Marshall M. Fredericks Sculpture Museum Collection features a unique collection of hun-

dreds of works that span the career of Marshall M. Fredericks (1908-1998), a traditional figurative public

sculptor, who remained active in his metro-Detroit studios until days before his death at age 90. He is known

nationally and internationally for his monumental figurative sculpture, public memorials, public fountains,

portraits, animals and whimsical animal figures.

Main Gallery

The Main Gallery features a unique collection of hundreds of works that span the career of Marshall M. Fred-

ericks (1908‐1998), a traditional figurative sculptor, who remained active in his metro Detroit studios until

days before his death at 90. He is known nationally and internationally for his monumental figurative sculp-

ture, public memorials, public fountains, portraits, animals and whimsical animal figures. The Main Gallery

includes about 200 works, mostly plaster models, which span a 70‐year career of sculpting. The museum

holdings include plaster models, cast and carved sculptures, medals, jewelry, miniatures, drawings, photos,

site models, molds, armatures, tools, machinery and archival materials. Main Gallery highlights include: Christ

on the Cross in Indian River, Michigan; the Fountain of Eternal Life in Cleveland, Ohio; The Expanding Uni-

verse Fountain at the State Department in Washington, D.C.; the Freedom of the Human Spirit in Flushing

Meadow Park, New York City; the Leaping Gazelle for The Levi Barbour Fountain at Belle Isle in Detroit, Michi-

gan; The Spirit of Detroit at the Coleman A. Young Municipal Center in Detroit; and The Ford Empire and Har-

lequin Reliefs at Ford Auditorium in Detroit.

The Sculptor’s Studio

The Sculptor’s Studio displays a permanent exhibit of objects and artifacts from Fredericks’ studio. After his

death in 1998, his entire collection of archives, artwork, studio tools, equipment and some personal items

became part of the museum’s collection. These items are arranged in a sequence that explains the casting

process. A large didactic panel on the lost‐wax and sand‐casting methods further explains the casting

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process. Visitors also can view a kiosk of original images of Fredericks’ studio interior and exterior, the Sculp-

ture Garden and an extended version of the video “The Magic of Marshall Fredericks: The Poet Lord Byron.”

The Sculptor’s Studio furthers the mission of the museum and fulfills Fredericks’ wish of educating visitors

about the process of fine art casting.

Temporary Exhibition Galleries

The Temporary Exhibition Galleries feature changing exhibitions of national, regional and international artists

and showcase works from the museum collection. Its first exhibition was Cranbrook Fundamentals, which

opened October 11, 2003, and closed March 20, 2004. Past exhibitions are listed below.

Contemporary American Sculpture from the Collection of the Flint Institute of Arts (April 30,

2004 to April 30, 2005)

Prints by Sculptors: From the Collection of the Flint Institute of Arts (April 30 to August 28, 2004)

Visiting Scholar & Artist Series: Paul Rotterdam: Drawings (October 8, 2004, to January 22,

2005), in conjunction with the Dow Visiting Artist Series

The Preacher and His Congregation: From the Collection of the Flint Institute of Arts, Photo-

graphs by James Perry Walker (February 7 to March 19, 2005), in conjunction with Black History

Month

Marshall M. Fredericks, (1908‐1998), (April 15 to August 28, 2005)

The Armature Revealed: From the Collection of the Marshall Fredericks Sculpture Museum (June

10 to September 24, 2005)

Nature Transformed: Wood Art from the Bohlen Collection (October 14, 2005 to April 30, 2006)

Marshall M. Fredericks: Selected Works from the Collection (June 1 to January 19, 2007)

Cultural Reflections, Inuit Art from the Collections of the Dennos Museum Center (February 2 to

May 19, 2007)

Pewabic Pottery: Patronage, Private Residences, Public Buildings, Sacred Spaces, (June 1 to

September 29, 2007)

David Hostetler: Wood and Bronze Sculptures, October 12, 2007 to January 26, 2008

Street Sense: A 20 year retrospective of Tyree Guyton and the Heidelberg Project, (Feb. 8 to May

24, 2008)

Regional Biennial Juried Sculpture Exhibition, (June 13 to Sept. 20, 2008)

Tangents and Waves: The Art of David Barr and Diane Carr, (Oct. 3, 2008 to Jan. 31, 2009)

Thayer and Thayer, Paintings and Sculpture, (Feb. 7 to May 29, 2009)

The Softness of Iron: Welded Sculptures by Orna Ben-Ami, (June 12 to September 19, 2009)

Breaking the Mold: Contemporary Chinese and Japanese Ceramic Sculpture and Textile

Extensions: Quilts in a New Context, (October 2, 2009 to January 28, 2010)

Sketches to Sculptures: Rendered Reality, Sixty Years with Marshall M. Fredericks,

(February 12 to June 12, 2010)

See www.marshallfredericks.org to view photos and videos of past and current exhibitions.

Sculpture Garden

School groups can include a Sculpture Garden tour as part of their visit. There are approximately two dozen of

Fredericks’ sculptures on campus; most of them are close to the museum.

Admission: Admission to the Museum is free to walk-in visitors.

Tour Information: Museum tours can be scheduled by calling 989-964-7096. Arrangements for tours should

be made 4 weeks in advance.

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Marshall M. Fredericks (1908‐1998)

Mr. Fredericks was born of Scandinavian heritage in Rock Island,

Illinois on January 31, 1908. His family moved to Florida for a short time

and then settled in Cleveland, Ohio, where he grew up. He graduated from

the Cleveland School of Art in 1930 and journeyed abroad on a fellowship

to study with Carl Milles (1875‐1955) in Sweden. After a few months he

studied at other academies and private studios in Germany and traveled

extensively in Denmark, France, Italy, and North Africa.

In 1932 Fredericks was invited by Carl Milles, who had since

moved to the United States, to join the staffs of Cranbrook Academy of Art

and Cranbrook and Kingswood Schools in Bloomfield Hills, Michigan.

Fredericks taught sculpture and ceramics there until 1942 when he en-

listed in the Air Force. In 1945 he was honorable discharged as a lieuten-

ant colonel.

After World War II, the sculptor worked continuously on his nu-

merous commissions for fountains, memorials, free‐standing sculptures,

reliefs, and portraits in bronze and other materials. Many of his works

have spiritual intensity, lighthearted humor and a warm and gentle humanist spirit like that found in Freder-

icks himself. A winner of many important awards, Mr. Fredericks has exhibited his work throughout the United

States and abroad. Many of his sculptures can be found in many national, public, and private collections.

He resided in Birmingham with his wife Rosalind Cooke until his death in April of 1998; they had five

children and eight grandchildren. He also held studios at 4113 North Woodward Avenue in Royal Oak and on

East Long Lake Road in Bloomfield Hills, Michigan until 1998. After his death the contents of his studios were

gifted to the Marshall M. Fredericks Sculpture Museum on the campus of Saginaw Valley State University.

Museum History

Mrs. Dorothy (Honey) Arbury had studied with Fredericks when she attended Kingswood School at the Cran-

brook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She also knew him through her

uncle, Alden B. Dow, a prominent Midland architect with whom Fredericks worked on architectural sculpture

projects. Honey Arbury was on the founding Board of Control of Saginaw Valley College in 1963 and remained

active on that board and on the SVSU Foundation Board into the 1990s. Honey Arbury and her husband, Ned,

and Fredericks and his wife, Rosalind, generated the idea of a permanent exhibit of Fredericks' work adjacent

to SVSU’s then‐new facilities for its art, music and theater departments. SVSU and the Arburys worked togeth-

er toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built ad-

jacent to the art department. The gallery opened to the public in the Arbury Fine Arts Center in May 1988. The

gallery became a museum in 1999. In October 2003, the $2.5 million Phase II expansion became a reality,

nearly doubling the museum’s size. The addition includes the Sculptor’s Studio, classroom, archives, a re-

search reading room, two temporary exhibition galleries and a gift shop.

Marshall Fredericks as a Public Sculptor

Marshall Fredericks was known as a public sculptor so many of his artworks are located in the eyes of the

public. He sought commissions and produced artwork based on the needs and requests of the client. The

client often times coordinated closely with Fredericks on their commission. The client varied so his artwork

portrays many different themes.

Fredericks is referred to as a traditional figurative artist. This means he produces artwork that we can

easily recognize and understand. His style of sculpting is closely related to the Art Deco style which is charac-

terized by stylizing, streamlining and simplification of form.

He worked on many commissions at the same time at his Royal Oak, Michigan studio. Many assis-

tants he hired over the years helped him make armatures, molds, plaster models, and performed many other

tasks.

Why did Marshall Fredericks Make Art? Fredericks Credo best answers that question: “I love people, for I have

learned through many experiences, both happy and sad, how beautiful and wonderful they can be: Therefore I

want more than anything in the world to do sculpture which will have real meaning for other people, many

people, and might in some way encourage, inspire or give them happiness.”

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The Exhibition:

Sketches to Sculptures: Rendered Reality, Sixty Years with Marshall M. Fredericks

The Sketches to Sculptures: Rendered Reality, Sixty Years with Marshall M. Fredericks exhibition

showcases the creative process of Fredericks both as designer and sculptor. From simple pencil sketches to

presentation drawings, the creative mind of Fredericks is on display as he transforms two-dimensional ideas

on paper into three-dimensional sculptures. While many of the drawings in this exhibition resemble the final

sculpture they would become, others only hint at elements of their outcome or point to a different outcome

entirely.

This exhibition is comprised of four genres that represent most of Fredericks’ work: architectural,

commemorative, spiritual and whimsical.

Architectural

Fredericks’ architectural sculptures helped define buildings and environments. Fredericks said in a 1980

interview with The Detroit News art critic Joy Colby: “How do you take that big box [Coleman A. Young Munici-

pal Center in Detroit, Michigan] and make it meaningful to the millions of people who not only pass it every

day but go in it every day every year and who have business in it and who respect it as the seat of their gov-

ernment where all their whole environment is carried out. How do you tell people: this is a nice place, it’s a

secure place, it’s something you can respect and like and it is powerful and strong and has a good motive

behind it.…”

Commemorative

“I was very proud to have participated in World War II. I still don’t understand those who aren’t willing to de-

fend their country and what it stands for,” Fredericks said in the 1980 interview with Joy Colby. Fredericks

sculpted numerous works that commemorate people, war, industry, and community. These works compel the

viewer to pause for a moment and reflect.

Spiritual

Fredericks created several religious sculptures for different denominations during his long career as a sculp-

tor. Fredericks said of his 55 foot tall Christ on the Cross at Indian River, Michigan, “If you’re going to do one

why don’t you do one that will really bring people here, bring people up north and make people think a little

bit?” (Joy Colby interview, 1980) His many spiritual sculptures are some of the most memorable and monu-

mental works created by Fredericks. Located at various sites throughout the country, these works of art con-

tinue to attract and move visitors from around the world.

Whimsical

Among the most beloved of all Fredericks’ sculptures are those with a whimsical nature, many of which are

animals. Fredericks’ animals speak to children (of all ages) and seem to reach out to them in friendship and

with compassion. “Fond of children, he created animal figures that look like enlarged children’s toys on

which children can play when they come with their parents to suburban shopping centers. This humorous and

playful element is prominent in his work,” wrote Edgar P. Richardson in the introductory essay to Marshall M.

Fredericks, Sculptor, 2003.

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Artwork Selection from the Exhibition For this teacher’s guide two artworks were selected from each genre.

Architectural:

Study for The Spirit of Detroit

Graphite on tracing paper

c. 1958

16 ½”h x 13 ¾”w

The Spirit of Detroit

Bronze

1958

12”h x 14 ¼”w x 4 ½”d

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The Spirit of Detroit Public Collections:

Coleman A. Young Municipal Building, Detroit, Michigan, bronze and gilt bronze, 1958

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, quarter-scale, plaster, 1954-1958

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, small-scale, bronze with gilt family and orb, cast

before 1964

The Detroit Institute of Arts, Detroit, Michigan, small-scale

Didactic label:

The erection of The Spirit of Detroit at the City-County Building (now Coleman A. Young Municipal Cen-

ter) in 1958 marked the formal completion of the structure whose construction began in 1951. Located in

front of a white marble wall at the entrance to the building, the sculpture depicts the cultural and religious

spirit of the Detroit community. At the time, The Spirit of Detroit was said to be the largest sculpture cast in

Europe since the Renaissance period (1400 – 1600). It stands sixteen feet high and twenty-two feet across

from fingertip to fingertip.

On the Vermont marble wall behind the figure are the official seals of Wayne County, Michigan and

the City of Detroit. Engraved on the wall is a verse from II Corinthians: ”Now the Lord is that Spirit, and where

the Spirit of the Lord is, there is Liberty.” Designed to continue the thought indicated in the inscription on the

wall, the sculpture is in the form of a kneeling man with outstretched arms. In his right hand he holds a fa-

ther, mother and child representing family, which, according to Fredericks, is “probably the noblest human

relationship.” In his left hand, the figure bears a sphere with rays emanating from it signifying deity. Freder-

icks chose the sphere because it is an object complete in itself with no beginning and no end.

This sculpture took Fredericks four years to complete and meant a great deal to the sculptor, who

once remarked, “I pray only that this work in some small way inspire those who see it.” Fredericks appears to

have gotten his wish as the citizens of Detroit immediately embraced this giant figure as the city’s cultural

icon by giving it the affectionate nickname, “The Jolly Green Giant.” The sculpture is also frequently dressed

in local sporting teams’ jerseys during playoff action, and The Spirit of Detroit’s image appears as the central

element in the logos of the city’s departments and services.

Questions and Answers:

Who named this sculpture? Fredericks stated that the theme of the sculpture was based on a verse from the

Bible (2 Corinthians 3:17): “Now the Lord is that Spirit: and where the Spirit of the Lord is, there is liberty.” He

tried to express the spirit of man through the deity and the family. Over time people began to refer to it as

The Spirit of Detroit. (reference: MFSM Archives) This sculpture is located at the entrance to the Coleman A.

Young Municipal Center (City-County Building) in Detroit along with the Seal of Wayne County and Detroit

(rendition).

Define two and three-dimension. Two-dimension has length and width. Three-dimension has length width and

depth. For example Fredericks drawings are two-dimensional and his sculptures are three-dimensional.

Look at the drawing. What do you notice that is different about the drawing and sculpture? The drawing has

4 different sketches for The Spirit of Detroit. Each represents different ideas for this commission.

Do you think that Fredericks did many drawings or just one drawing before he made his sculpture? Yes, he

often produced many sketch studies before the sculpture was started.

Ask the students why it is good to do many sketch drawings rather than one. Have them respond. It is always

good to challenge yourself to think of many ideas and then look at them and select the best one. Many times

Fredericks worked with clients and they also made responses to his ideas. In some cases the sculpture de-

sign was done according to his clients’ wishes even if Fredericks did not agree.

Notice the difference in his legs from the drawing to the sculpture. Why do you think Fredericks changed the

one leg from being upward to both kneeling? Have students respond to this. By putting both legs in a kneeling

position the figure becomes more symmetrical and frontal.

What do you think the man, woman, and child represent? Family

What do you think the orb, rays and three bands represent? They represent a deity or a superior power. In

Christianity, the three bands represent the trinity.

The Spirit of Detroit Activity:

Have students research the Spirit of Detroit Sculpture. Ask them to design a small-scale sculpture for their

individual communities in 2-D and then in 3-D. Discuss themes and symbols appropriate to their communi-

ties and what they hope their work expresses. Use simple drawing materials and modeling compound to

sculpt it. If several students are from one community have them work in small groups.

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Sketch for Freedom of the Human Spirit

Pencil on tracing paper

c. 1964

Freedom of the Human Spirit

Bronze

1964

27 ½”h x 11”w x 11”d

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Freedom of the Human Spirit Public Collections:

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, plaster and fiberglass, 1964

Flushing Meadow-Corona Park, New York, bronze, 1964

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, one-third scale model, plaster, 1964

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, miniature, gold, 1985

Shain Park, Birmingham, Michigan, bronze, 1986

Alden B. Dow Museum of Science and Art, Midland, Michigan, small-scale

Mayor's Office, Ritto, Japan, small-scale

Mayor's Office, Toyota City, Japan, small-scale

Didactic Label:

The businessmen backers of the 1964-65 New York World’s Fair aspired to produce an economic

boom for the city that would rival the hugely successful New York World’s Fair of 1939-40 that brought more

than 44 million visitors to the city. Many of these planners, kids during the ’39-40 Fair, hoped that the experi-

ence would be as memorable for their children and families has it had been for them. Dedicated to “Man’s

Achievement on a Shrinking Globe in an Expanding Universe,” the Fair’s theme was “Peace through Under-

standing.”

The Fair’s Sculpture Committee requested that Marshall Fredericks submit a proposal for a sculpture

to be included at the event. Fredericks submitted several sketches and the Committee selected a sketch of

two figures with swans. Originally the figures in the sketch had wings, but the review panel requested that

Fredericks remove them in the final sculpture. According to the artist, the sculpture “depicts human figures

as if soaring in migratory flights with huge swans, an ancient symbol of eternal life.”

One of four major sculptures at the Fair, the sculpture stood in the Court of States at the entrance of

the U S Government Pavilion. This marked the second time Fredericks contributed a sculpture to a New York

World’s Fair, as he previously exhibited a fountain at the 1939 Fair. The Freedom of the Human Spirit still

stands at its original location in Flushing Meadows Corona Park in Queensborough.

In 1983, Fredericks donated the design for this sculpture to his adopted hometown of Birmingham,

Michigan in honor of the city’s fiftieth anniversary. Erected in Shain Park, the city financed the sculpture

through generous donations from over one thousand individuals and corporations. In 2009, the city of Bir-

mingham renovated the park and relocated the sculpture to an area in the center of the park.

A small-scale casting of Freedom of the Human Spirit also serves as the annual Communications

Award for the International Center for the Disabled (ICD), an organization of which Fredericks was a longtime

benefactor. Notable recipients of this award include President George H.W. Bush, Betty Ford, Nancy Reagan

and Christopher Reeve.

Questions and Answers:

What is a World’s Fair? It’s an exposition that displays the newest advances in science, technology, arts, etc.

The first era of the World’s Fair could be called the era of 'industrialization' and covered, roughly, the period

from 1800 to 1950. In these days, world expositions were especially focused on trade and famous for the

display of technological inventions and advancements. World expositions were the platform where the state

of the art in science and technology from around the world was brought together. World’s Fairs also exhibit

artwork from many famous and well-known artists. Some famous artists include: Augustus Saint Gaudens,

Mary Cassatt, and Mary MacMonnies.

Name some years in which World’s Fairs were held in America and the cities in which they were held.

1893, Chicago; 1904 St. Louis; 1933 Chicago; 1939 and 1964 New York

Was this sculpture made for a World’s Fair? Yes, this sculpture was done for the 1964 World’s Fair in Flush-

ing Meadow, Corona Park, NY.

How many sculptures did Marshall do for the World’s Fairs and what years? 1939 and 1964 World Fairs. He

did the Baboon Fountain for the 1939 and Freedom of the Human Spirit for the 1964 World Fairs.

What happens to the buildings, artwork and exhibitions after the World Fair? Many buildings and exhibitions

are temporary and are dismantled after the Fair.

Was Fredericks sculpture dismantled after the Fair? No, it is still located there. Today it is located near the

Arthur Ashe Stadium in Flushing Meadow Corona Park, NY.

When Fredericks includes a man and woman in his sculpture what does that mean? He wants to recognize

both men and women so he represents both in his sculpture.

Swans appear in many of Fredericks Sculptures. What do they symbolize? Marshall Fredericks frequently

used the figure of a swan in his sculptures. Many cultures feature swans in their mythology and folklore.

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Swans have come to symbolize fidelity and purity and are associated with music, poetry and divination. Fred-

ericks often employed the swan as a symbol of resurrection and eternal life in his sculptures. Wings of the

Morning, Freedom of the Human Spirit, and Indian and Wilds Swans as well as several other works feature

swans.

On another note Fredericks played an integral role in a swan nesting project during the 1960s. As a

civic gesture to his hometown of Birmingham, Michigan, Fredericks presented two pairs of swans to the city.

This is the same time period that his sculpture was made.

Compare and contrast the drawing and sculpture. Have students discuss the differences and similarities.

Freedom of the Human Spirit Activities: Have students research and create an in-classroom World’s Fair of

their own. Assign student teams different themes and have them create small exhibitions for display.

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Commemorative:

Leaping Gazelle

Bronze

1936

17 ¾”h x 6 ½” w x 4”d

Sketch for Leaping Gazelle

Pencil on tracing paper

c. 1936

11 ½”h x 18”w

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Leaping Gazelle Public collections:

Levi L. Barbour Memorial Fountain, Belle Isle Detroit, Michigan, bronze, 1936

Emigrants Monument, Stavanger, Norway, bronze, 1958

Brookgreen Gardens, Murrells Inlet, South Carolina, bronze, 1972

Saginaw Valley State University Quadrangle, bronze, 1987

The Gardens, Palm Beach County, Florida, bronze, 1988

Dow Gardens, Midland, Michigan, bronze, 1994

Frederik Meijer Gardens, Grand Rapids, Michigan, bronze, 1995

Marshall M. Fredericks Sculpture Museum, Main Gallery, University Center, MI, plaster, 1936

Didactic label:

In 1936, Marshall Fredericks entered a national competition to design a memorial honoring Levi L. Barbour

for Belle Isle, an island park in Detroit, Michigan. Barbour, a prominent lawyer who had been instrumental in

the purchase of the island as a public park, bequeathed $20,000 to the city for the purpose of erecting some

permanent structure on Belle Isle as a “continual hint to [his] fellow citizens to devote themselves to the ben-

efit and pleasure of the public.”

Open to all Detroit-area sculptors with approved credentials and others with a national reputation,

the competition received entries from twenty-six sculptors. Chosen by an unanimous vote, Fredericks’ winning

model featured a wounded or leaping antelope which “attempt[ed] to show the beauty in the excitement, or

even death, of nature,” according to the artist. Fredericks surrounded the central figure with four smaller fig-

ures: a weasel, hawk, squirrel and pheasant, all native to Belle Isle and representing both the predatory and

non-predatory aspects of nature.

Located in Belle Isle’s Rose Garden, the sculpture stands sixteen feet tall atop a granite pedestal. In

its final form, Fredericks altered his original concept but the overall intent remained the same. Instead of an

antelope, a wheeling bronze gazelle is the focal point of the fountain and the four smaller figures on the gran-

ite basin depict a hawk, grouse, rabbit and otter, representations of the island’s indigenous animals. At the

memorial’s dedication in 1937, Fredericks said the fountain “is meant to express beauty in nature and its

creation.”

Considered by Fredericks to be his “first break,” the Belle Isle Competition garnered Fredericks a

great deal of national attention and increased his public notoriety. With castings found throughout the United

States and Europe, the Leaping Gazelle remains one of Fredericks’ most popular sculptures.

Questions and Answers:

Why did Fredericks make this sculpture? Fredericks made this sculpture in 1936 as his entry in a

national competition for a fountain on Belle Isle in Detroit. He won this competition. The competition

was funded by the estate of Levi L. Barbour and placed on Belle Isle in memory of him.

Why did he choose to do a leaping gazelle? Fredericks said: “I used this gazelle which to me has always

been…sort of the perfection of the four-legged. …it’s just a marvelous expression of the animal kingdom, and

the lines of it are so beautiful and it just seemed to set itself up as a natural in that marvelous natural envi-

ronment [of] Belle Isle.

Gazelles are not commonly found in Michigan. What other sculptures did he sculpt that are also part of the

Levi L. Barbour Fountain? He sculpted four animals in black granite to surround the gazelle on all four sides.

They are: hawk, grouse, rabbit, and otter. These animals are native to Belle Isle. He originally selected two

predatory animals (weasel and hawk) and two non-predatory animals (squirrel and pheasant) for the sur-

rounding animals. Why do you think he changed his mind? Have students respond. Are two predatory and two

non-predatory animals still represented now? Yes.

Where are gazelles commonly found? Africa and Asia. Have students look at these continents on a map.

Why is this sculpture very special to Fredericks? It was the first time he received so much recognition for his

sculpture and it was his first major public commission. He became more widely known as a public sculptor

and received many commissions as a result of winning. This sculpture can be found on his grave at the

Greenwood Cemetery in Birmingham, Michigan. It is centrally placed in the museum’s Main Gallery, designed

by Fredericks.

Leaping Gazelle Activities:

Have students research the five animals: gazelle, grouse, hawk, rabbit, and otter. Discuss their natural habi-

tat, description, and other information about them.

Research Belle Isle in Detroit, Michigan and discuss its history. What other interesting things can be found

there?

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Sketch for Cleveland War Memorial: Fountain of Eternal

Life

Pencil and ink on tracing paper

n.d.

12”h x 18 ½”w

Cleveland War Memorial

Bronze sketch model

c 1945

38”h x 9”w x 9”d

Cleveland War Memorial: Fountain of Eternal

Life

Cleveland, Ohio

46’h

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Cleveland War Memorial: Peace Arising from the Flames of War Public collections:

Marshall M. Fredericks Sculpture Museum, Main Gallery, University Center, Michigan, inch-to-foot scale model, plaster,

1945-64

Marshall M. Fredericks Sculpture Museum, Main Gallery, University Center, Michigan, quarter-scale model, plaster, 1945-

64

Saginaw Valley State University, Founder's Hall, University Center, Michigan, (Peace Arising from the Flames of War and

sphere), quarter-scale, bronze,1997

Kirk in the Hills Presbyterian Church, Bloomfield Hills, Michigan, (Peace Arising from the Flames of War and sphere), quar-

ter-scale, bronze

Didactic label:

Located at the Civic Center Mall A, Cleveland, Ohio, the Fountain of Eternal Life, also known as the Cleveland

War Memorial, was commissioned by the City of Cleveland in 1945. Groundbreaking for the 46 foot tall foun-

tain was begun in 1955 and it was dedicated on Memorial Day 1964, almost twenty years in the making. The

final sculpture is flanked by four monolithic granite carvings weighing approximately ten tons each. They de-

pict the four great civilizations of the earth: Nordic, Eastern, Southern, and Western cultures. Centered within

is the 10 ½ foot sculptured and filigreed bronze sphere representing the Universe as man has imagined it

throughout history. Its over-all design contains symbols of Eternal Life, Spirit, and Dominion derived from an-

cient myths and legends. The monumental central figure, also in bronze, towers 43 feet above the basin.

The sculpture exhibited here is an early sketch model of the fountain’s central figure. Because of the nude

male and female figures, the design would later be rejected by the Gold Star Mothers, who also held up the

project’s completion. (Gold Stars Mothers, Inc. is an organization open to any woman who has lost a son or

daughter in a war; it was founded shortly after W.W. I).

Looking at the large drawing in the exhibition you see the sphere, but there is only a single male figure cov-

ered with flames up to his waist. The bronze sphere symbolizes the superstitions and legends of mankind,

with the figure of man rising from the flames and reaching for eternal peace. This shop drawing was created

by the vendor to illustrate the assembly of the central figure for the fountain.

In this exhibition the drawing for Man and the Expanding Universe illustrates the same figures as its central

theme. This too would be rejected by the General Services Administration for another design.

This early sketch model with the two nude figures for Fountain of Eternal Life would be proposed again for

other Fredericks’ commissions. In 1997, the nude figure design would be used for the sculpture Star Dream

located at the Barbara Hallman Plaza, Royal Oak, Michigan.

Questions and Answers:

What is a war memorial? A monument or sculpture that honors men and women who served, fought and died

in a war.

The drawing and the bronze sketch model are different from the final sculpture. Why? The clients for the me-

morial asked him to change his original design. Compare and contrast the drawing, bronze sketch and final

artwork. Have students share their thoughts on the similarities and differences.

What imagery do you see on the globe of the sculpture? Sun, Phoenix, Dragon, Swan, Baboon, Pegasus,

Crocodile/alligator, Lion, and Dolphin/porpoises. Have students research and discuss the meanings of these

images. Fredericks said that its over-all design contains symbols of eternal life, spirit, and dominion derived

from ancient myths and legends.

Can one symbol have different meanings for different cultures? Yes, symbols do have different meanings for

different cultures.

What different cultures do the “civilization” sculptures represent? Nordic, Southern, Eastern, and Western

cultures of the world.

How do you know that? Each culture has attributes of the civilizations they represent. Nordic has Thor with a

shark, Southern has African people with a mask, Western has Bacchus/Dionysus, and Eastern has

Buddha/Shiva, Ganesh and various other East Asian deities.

What do the flames represent? War. Why would he sculpt a man reaching upward? Fredericks stated: “This

figure expresses the main theme of the Fountain, namely, the spirit of mankind rising out of the encircling

flames of war, pestilence, and the destructive elements of life, reaching and ascending to a new

15

understanding of life. Man rising above death; reaching upward to his God and toward peace.” If Fredericks

made the sculpture reach downwards, what do you think that would mean? Have students discuss this. Have

students discuss the meanings of body gesture.

There are different sizes of this sculpture in the museum. Why would he do different sizes of this War

Memorial? Fredericks started his artwork in smaller scale sizes and slowly enlarged them to present to the

commissioning persons. If changes needed to be made he was able to do this easily before the final full-scale

model was complete.

If the ¼ scale model is 11 ½’ then how large is the full scale model? 46’

What dates did WWII occur? 1939 to 1945

What countries were involved? The aggressor countries were Germany, Italy, and Japan. Allied countries

included United Kingdom, France, United States, Soviet Union, and China.

What countries emerged as superpowers after WWII? The Soviet Union and United States.

What is a term we use for people that fought in a past war? Veterans.

What are some other wars that involved the US and what are their dates? Revolutionary War: 1775-83,

Spanish American War: 1898-1901, World War I: 1914-18, Korean War: 1950 to 53, Vietnam War: 1959-75,

and Gulf War: 1990-91.

How was Fredericks selected to do this sculpture? Cleveland, OH had a 40-year dream of establishing a

beautiful war memorial and fountain to memorialize Greater Cleveland’s war dead. Around 1945 the

Cleveland Press undertook a campaign to raise $100,000 in public contributions. The final contributions

raised were $104,000. Fredericks made scale models of his proposed design which were viewed informally

at the Cleveland School of Art by members of the City Planning Commission and the Commission’s Advisory

Committee on Fine Arts. Along with Fredericks, a field of fountain sculptors was thoroughly reviewed and

Lieutenant Colonel (US Air Force), Marshall Fredericks was chosen.

Did Fredericks serve in any wars? Which one? Yes, World War II. He was a Lieutenant Colonel in the US Air

Force.

Cleveland War Memorial Activities:

Have students do body gestures in front of the class and discuss what they mean.

Have students create their own war memorial. Start by researching the war(s) and then selecting symbols

that have meanings they want to convey. You can then create a 2-dimensional collage artwork by using actual

art and photographic images.

16

Spiritual:

Black Elk: Homage to the Great Spirit

Bronze

1980

16 ½”h x 14 ½”w x 7”d

Sketch for Black Elk: Homage to the Great

Spirit

Ink on paper

n.d.

8”h x 4 ¾”w

17

Black Elk: Homage to the Great Spirit Public Collections:

Tower of the Four Winds, Black Elk Neihardt Park, Blair, Nebraska, small, bronze, 1980

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, small-scale, plaster, 1980

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, small scale, bronze, 1980

University of Nebraska Medical Center, McGoogan Library of Medicine, Omaha, Nebraska, small scale, 1980

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, quarter-scale, armature, circa 1980-1998

Sterling Bank and Trust, Southfield, Michigan, full-scale, bronze, 1998

Birmingham Bloomfield Art Center, Birmingham, Michigan, small-scale

Washington County Bank, Blair, Nebraska

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, quarter-scale, plaster

Didactic Label:

This sculpture is a sketch model for a proposed fifteen-foot high monument that was to be placed on the eighty-

acre Black Elk-Neihardt Park west of Blair, Nebraska. Black Elk grasps the sacred peace pipe, which was given

to his ancestors to insure that they would multiply and be a good nation. He points it upward from his heart and

gazes skyward as he gives a prayer of thanks to the Great Spirit for the buffalo. The physical closeness of Black

Elk with the buffalo at his feet suggests the spiritual closeness the Sioux Indians feel with the buffalo. In the

Sioux Tribe’s rich history, its people are profoundly dependent on the buffalo and the hunt.

An early sketch portrays Black Elk kneeling, without the buffalo at his side, holding a peace pipe.

The original subject of the sculpture is Black Elk, the man. Black Elk (1866-1950) was an Ogallala Sioux medi-

cine man and a spiritual leader for all North American Indians. Black Elk Speaks by John Neihardt (1881-1973)

is an account of Black Elk’s life and of the Ogallala Sioux, written after a series of interviews with Black Elk in

1931. It is revered by many North American Indians of the 20th century.

Fredericks was personally inspired by the life of Black Elk and his writings and he had a lifelong interest in Na-

tive Americans and their cultures.

A limited edition of this sculpture was cast in this scale to raise money to build the “Tower of the Four Winds”

monument at Black Elk-Neihardt Park; unfortunately, the Black Elk-Neihardt Park project was never realized. A

full-scale bronze of Black Elk: Homage to the Great Spirit was cast in 1998 and is in a private collection.

Questions and Answers:

Who was Black Elk? Have students research the Ogallala Lakota people. The Ogallala Lakota see themselves as

part of the Lokota Sioux people. They are located in the regions of Nebraska, South Dakota and east of Wyo-

ming. Some facts about Black Elk: He was a second cousin to Crazy Horse.

What did Black Elk experience in his life? He took part in the 1876 Battle at the Little Bighorn River and Wound-

ed Knee. Research and discuss these historical events with students.

What is the origin of the peace pipe? According to John Niehardt’s book Black Elk Speaks, a sacred woman

appeared to two scouts. She informed one of them to go home and tell them she was coming and they needed

to build a big tepee for her in the center of the nation. And he did. When she came she brought and gave to the

chief a “pipe with a bison calf carved on one side to mean the earth that bears and feeds us and with twelve

eagle feathers hanging from the stem to mean the sky and the twelve moons, and these were tied with a grass

that never breaks.” (Black Elk Speaks)

This sculpture was created for the Tower of the 4 Winds near Blair, Nebraska. Where is Blair, Nebraska? Close

to the border of Iowa and Nebraska north of Lincoln, Nebraska. (Have students find it on a map.)

Why do we know so much information about Black Elk? John Niehardt, a poet and writer met Black Elk in

August of 1930 at his home near Manderson, Nebraska. Black Elk shared his life stories to educate people

about his life experiences. Black Elk and John Niehardt met over a period of about two years and Neihardt

wrote a book on this titled Black Elk Speaks: Being the Life Story of a Holy Man of the Ogallala Sioux.

Do you think Marshall Fredericks sculpture shows Black Elk offering a prayer of thanks for the buffalo? Yes,

Fredericks portrays Black Elk looking upward in a standing position holding the peace pipe with a buffalo seated

next to him on one side.

Is a buffalo and bison the same animal? Yes, The American Bison is a North American species commonly

known as the American Buffalo.

Do you often give thanks for the food, clothing, family and home you have? How do you give thanks? Have

students respond in their own ways.

Black Elk Activities: Have students discuss something good that they are thankful for. Then have them make a

small sculpture in modeling clay that shows their appreciation for it.

18

Saints and Sinners: Holy Mother and

Child

Bronze, cast 1976

1939

33”h

Sketch for Saints and Sinners

Pencil on yellow drawing paper

c. 1939

8 ¼”h x 5 ¼”w

Seven Saints and Sinners

Bronze, cast 1976

1939

33”h

19

Saints and Sinners

Public Collections:

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, plaster originals, 1976

Oakland University, Rochester, Michigan, bronze, 1976

Alden B. Dow Museum of Science and Art, Midland, Michigan, bronze, 1977

Northwood University, Midland, Michigan, small-scale, bronze, 1981

Marshall M. Fredericks Sculpture Museum, University Center, Michigan, small-scale, bronze

Alden B. Dow Home and Studio, Midland, Michigan, small-scale, bronze

Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan, small-scale

Didactic label:

In 1976, Fredericks enlarged these figures from the thirty-inch tall version that he had created in 1939 for

the Kresge Library at Oakland University, Rochester, Michigan. These seven figures are in the style of jamb

statues often found in the portals of Gothic cathedrals throughout Europe. Because these Gothic cathedral

figures were attached to columns, they were elongated with unnatural proportions; Fredericks' figures all

conform to this elongated form. They are amusingly balanced atop small orbs. Although they are similar in

style, each one is individualized and possesses distinguishing attributes.

Questions and Answers

Compare and contrast the drawing and the sculpture. Have students discuss their thoughts.

Did you notice that Fredericks did both drawings and wrote notes? Why do you think he did this? He was

thinking both visually and cognitively. You can see the phrase “Beauty and the Beast” written and then

crossed out. This is because he must have considered that theme and decided not to pursue it. There are

three figures in this drawing. One is a mother with child, and another is a single figure of a woman. Towards

the bottom is a figure laying on its back, possibly the beast.

Which of the three drawings best reflect the sculpture? The one on the left. However it isn’t exactly like it.

Does the drawing on the left and the sculpture have similarities or differences? Have students describe how

the drawing differs from the sculpture.

Why is this sculpture long and thin? The style is Gothic-style because in Gothic architecture the sculpture was

subordinate to the architecture. So if there was a tall thin space that needed a sculpture on a cathedral it was

made tall and thin to fit. The whole suite of Saints and Sinners resembles jamb statues on Gothic architec-

ture.

This is one of a suite of 7 sculptures. The names of the other seven are: The Good Influence, Pious

Monk/Saint of the Church, Eve/Knowledge of Good and Evil, Temptation, Warrior Saint, and The Evil

Influence. Fredericks produced them in a 3 foot size and enlarged them to full-scale approximately 9 feet

high.

Saints and Sinners: Holy Mother and Child Activities

Have students research Gothic architecture. Take some photos of Gothic architecture in their community

(churches, residential homes, commercial buildings, etc.) and discuss them.

20

Whimsical:

Sketch for Lion and Monkey

Pencil on steno pad paper

c. 1957

9”h x 5 ¾”w

The Lion and Monkey

Bronze

1957

6 ½”h x 11”w x 5”d

21

Lion and Mouse Public collections:

Eastland Shopping Center, Harper Woods, Michigan, limestone and bronze, 1957

Marshall M. Fredericks Sculpture Museum, Main gallery, University Center, Michigan, plaster, 1957

Marshall M. Fredericks Sculpture Museum, Sculpture Garden, University Center, Michigan, bronze, 1988

Didactic Label:

Fredericks sculpted The Lion and Monkey in 1957. He soon changed the sculpture to The Lion and

Mouse, thinking it would be easier for children to sit or slide on the lion’s knee, as The Lion and Mouse draw-

ing, in the exhibition portrays.

The hand of the artist is clearly visible in the workmanship of this model, including Fredericks’ finger-

prints which can be seen on the sculpture. The treatment of the lion’s mane, a series of pressed on spheres

of clay, gives him a more natural unkempt look rather than the ornate regal curls he would acquire in The

Lion and Mouse.

The Lion and Monkey does not remind us of Aesop’s (c. 620 - c. 560 B.C.E.) fable The Lion and

Mouse, but rather tells a different story. The monkey is relaxed and at ease with his back arched and his tail

resting on the lion’s leg; he might even be contemplating a nap. The lion too is relaxed, and lying on his back

in a pose of submission. There is no danger here, only a glimpse at a moment of serenity, balance and har-

mony.

Questions and Answers:

Who wrote the Lion and Mouse story? It is an Aesop Fable. He was a Greek 6th century B.C. E. (Before Com-

mon Era) writer of fables. A fable is a short narrative that usually teaches a moral lesson and often uses ani-

mals as the main characters.

What is the story of the Lion and Mouse? The life of a pleading mouse is spared, when he is caught by a lion.

The mouse eventually repays the lion by chewing a hole in a hunter’s net to free him. The other similar popu-

lar story has the mouse remove a thorn from the lion’s paw.

Does this lion resemble one that you would see in a zoo? Why? No. It is lying on his back similar to a human

lounging.

What are two words that are used to describe artwork that is recognizable but not true to life? Stylized and

abstract. Stylized means to represent or design according to style rather than according to nature. Abstract

means altering the view of the world we see and retaining only the essence of a thing or idea.

What is the moral of this story? That we must realize, that even the smallest of creatures can do very large

favors. We must respect each other despite differences in our beliefs, culture, and, in this case, size. Both

the mouse and the lion have importance and can greatly benefit from each other.

Why do you think Fredericks made this sculpture? He was commissioned to create a sculpture for a shopping

mall in the 1950s. Shopping malls were invented in Michigan. Mall owners sought artists to make sculpture

and artwork to beautify their malls.

Look at the drawing made by Fredericks and the finished sculpture. Have students discuss similarities or dif-

ferences of the drawing and sculpture. Ask them why they think the image changed from the drawing to the

final sculpture. Have children express their thoughts. In many instances Fredericks original drawing and con-

cept changes when the final sculpture is complete. There are many reasons. For example he worked for peo-

ple that may have asked him to make changes. Sometimes an artist decides to make changes based on lo-

gistical reasons, aesthetic reasons, and simply because humans grow and develop make adjustments in their

everyday life and tasks. We problem solve and find the best solutions. In this case he eliminated the monkey

so it would be easier for children to sit or slide on the lion’s knee.

Lion and Mouse Activity:

Discuss fables and have the students read a few of them in class. Have students compose a short fable of

their own and illustrate them into a small booklet. Make copies for the entire class to share.

22

The Boy and Bear

Bronze

1954

11”h x 11”w x 5 ½”d

Study for The Boy and Bear

Pencil on tracing paper

c. 1954

9”h x 11 ¾”w

Sketch for The Boy and Bear

Pencil on tracing paper

c. 1954

6”h x 10 ¾”w

23

The Boy and the Bear Public collections:

Marshall M. Fredericks Sculpture Museum, Main Gallery, University Center, Michigan, plaster, 1954

Northland Center, Southfield, Michigan, limestone and gilt bronze, 1954

Grosse Pointe Public Library, Grosse Pointe, Michigan, bronze, 1976

Marshall M. Fredericks Sculpture Museum, Main Gallery, University Center, Michigan, maquette, bronze, 1987

Marshall M. Fredericks Sculpture Museum, Sculpture Garden, University Center, Michigan, bronze, 1988

Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan, bronze, 1995

Way Elementary School, Bloomfield Hills, Michigan, small-scale

Didactic label:

The Boy and Bear was commissioned by Joseph L. Hudson for architect Victor Gruen’s Northland Shopping

Center in Southfield, Michigan; at the time, Northland was only the second open-air pedestrian shopping mall

in the United States. The bear is carved in limestone and the boy is cast in bronze and gold-plated. The Boy

and Bear is located just outside one of the entrances to Macy’s, formerly Hudson’s department store. Three

years after Fredericks started the sculpture, The Boy and Bear was dedicated in 1954. In a 1981 interview

with the Detroit News art critic Joy Colby, Fredericks said, “People don’t like to go shopping in just a cement

building, you know; they really don’t. If it has something that appeals to their eye and is more friendly and

warm and maybe has a little fun connected with it I think they enjoy it more.”

While there is no documented correlation between Rudyard Kipling’s boy (Mowgli) and bear (Baloo) in his fa-

mous novel The Jungle Book (1894) and Fredericks’ The Boy and Bear, most note great similarities.

Fredericks love for children is clearly at the heart of this sculpture. The bear’s enormous body compared to

the frail boy reminds the viewer of man’s special bond with animals. The bear with his massive head lowered,

ears upright, brow furrowed and gentle smile reaches out to the boy and each viewer in friendship, and ap-

pears to offer to lend an ear to listen. Fredericks had created a special relationship with The Boy and Bear,

but has also left open the possibility of relationships yet to come.

The Boy and Bear was later cast in bronze and donated to Saginaw Valley State University where it resides

today in the Marshall M. Fredericks Sculpture Museum’s sculpture garden.

Questions and Answers:

What does this sculpture remind you of? The Jungle Book.

Who wrote the Jungle Book? Rudyard Kipling

When did Kipling write this story? 1894

Can you briefly describe the story of the Jungle Book? Have students summarize the story and names of the

boy and bear.

Fredericks said that his boy and bear sculpture has no relation to the Jungle Book story. Do you believe him?

Why? Have students discuss this.

Why did Fredericks make this sculpture? Fredericks was one of six artists commissioned to design sculpture

for Northland Shopping Center in Southfield, MI. It is obvious that Fredericks designed this sculpture with

children in mind. As with his other large animal sculptures, he gave the bear a benevolent quality so it would

not frighten children. This bear could be a child's best friend.

Ask students to compare and contrast the drawings and the bronze sculpture.

Can you read some of the notes that Fredericks has written on the sketch? What do you think they mean?

“Bear with child”: perhaps a title. “Clowns in bent formed metal-patinaed and painted”: perhaps referring to

another sculpture with clowns.

One drawing shows the Boy and Bear with a darkened image of a person behind it. He has drawn horizontal

lines from the Boy and Bear to the figure. Why did he do this? He was deciding on height proportions for the

Boy and Bear sculpture. For example the shoulder height of the figure aligned with the stomach area of the

boy on the bear.

Fredericks carved the bear in limestone and the boy was cast in bronze and gold-plated. Why did he use two

different media? So there was texture, color and medium contrast. Limestone is a white or light value matte

color with slight texture and the boy’s gold-plated bronze surface is gold color, shiny and reflective.

24

Fredericks Facts Fredericks’ daughter Roz served as the model for the boy.

The Boy and the Bear Activities

Briefly summarize the Jungle Book story to the class. Discuss the moral of the story with the class. They may

know the story well because of the movie. Have them create a story with a moral in a comic strip format. Ask

them to do drawings in different frames to indicate the different parts of the story. Suggest both animal and

human characters in their comic strip.

25

Glossary

ARMATURE: A skeleton-like framework used to support clay or plaster. An armature is often made of wood,

wire or metal.

ART: Objects or ideas created by humans that tell or show what we are thinking or feeling. Art may or may not

be beautiful. Art may or may not look like something we know or recognize. Art examples include painting,

sculpture, architecture, music, performance, dance and acting.

BRONZE: An alloy or mixture of metals made by combining copper (90 percent) with tin (10 percent) and

sometimes lead and zinc (usually in equal parts). Copper also can be mixed with silicon to make silicon

bronze.

CAST: A sculptural object made by pouring a fluid or molten material into a hollow form/mould and allowing

that material to harden.

CLAY: A malleable mud-like substance that can be either water-based or oil-based. Clay can be shaped or

formed and therefore often is used to make bricks, tile, pottery and sculpture.

GESTURE: Movement of body or hands to express a thought or idea without speaking.

GOLD-PLATE: To coat a metal with another metal. This process is often simply called plating. The base metal

is placed in a container of water in which it becomes an electrode, which is then gradually coated with

particles of another metal by electrolysis.

IN-THE-ROUND: A three-dimensional sculpture viewable from all angles.

LIMESTONE: Rock consisting mainly of calcium carbonate, often composed of the organic remains of sea

animals. It is used as building stone and as a source of lime. When crystallized by heat and pressure, it

becomes marble.

MAQUETTE: A small model of a sculpture.

MOLD: The negative form made from an original model.

MONUMENT: A structure (building or sculpture) erected as a memorial to a person or an event.

MUSEUM: A building or room for exhibiting artistic, historical or scientific objects.

PATINA: An oxidation process in which acidic solutions are applied with or without heat to a finished metal

cast surface in order to color the surface. Different acid solutions can produce a wide variety of colors.

PLASTER: A white, powdery mixture of lime and sand that forms a paste when combined with water. Plaster

hardens as it dries.

PRESENTATION MODEL: A small-scale model of a sculpture that’s made for presentation to a client.

PROPORTION: The Size relationships to parts of a whole, or between two or more items perceived as a unit. It

is also the size relationship between an object and its surroundings.

RELIEF: Figures or other shapes that project from a flat surface. The three types of reliefs are low (bas), high

and incised.

SCALE: Size in relation to some “normal” or constant size.

SCULPTURE: The art of carving or modeling figures. Sculpture methods include cutting from blocks of stone

or wood, casting in bronze or other material, making statues by welding or assembling, and modeling in clay

or wax.

SKETCH MODEL: A small-scale sculpture; not the final or finished one.

TEXTURE: The actual or visual feeling of a surface. Tree bark, animal fur, cement and sand are examples of

different textures.

TWO-DIMENSIONAL: Having length and width.

THREE-DIMENSIONAL: Having length, width and depth.

Websites, Books and Multimedia

Website: www.marshallfredericks.org

Monograph Book: Marshall M. Fredericks, Sculptor, Edited by Suzanne P. Fredericks, 2003, Wayne State

University Press, Detroit, Michigan

Videos: Celebrate the Spirit, The Magic of Marshall Fredericks: The Making of The Poet—Lord Byron (also in

DVD), Sculptor Marshall Fredericks: In His Own Words

Resources:

www.artlex.com

www.wikipedia.com

Marshall M. Fredericks Sculpture Museum Archives

Getlein, Mark, Living with Art, Ninth Edition, McGraw Hill Higher Education