Cover image for Augustus Saint-Gaudens : American sculptor of the Gilded Age
Augustus Saint-Gaudens : American sculptor of the Gilded Age
Duffy, Henry J.
Personal Author:
Publication Information:
Washington, D.C. : Trust for Museum Exhibitions in cooperation with the Saint-Gaudens National Historic Site, Cornish, New Hampshire, [2003]

Physical Description:
127 pages : illustrations (chiefly color), portraits ; 26 cm
General Note:
Catalogue of a travelling exhibition held at the North Carolina Museum of Art, Raleigh, N. C., Feb. 23-May 11, 2003 ; The Parrish Art Museum, Southampton, New York, June 5-Aug. 3, 2003 and ten other venues through Nov. 27, 2005.
Format :


Call Number
Material Type
Home Location
Item Holds
NB237.S2 A4 2003 Adult Non-Fiction Central Closed Stacks

On Order



The sculpture of Augustus Saint-Gaudens (1848-1907), called the American Michelangelo, has often been compared to the magnificent works of the Renaissance. As an advocate of new ideas and a new approach to sculpture, Saint-Gaudens played a preeminent role in developing America's cultural life and revitalizing the art of sculpture in the modern age. (1861-65), when numerous monuments were commissioned to commemorate the national crisis and subsequent unification. In addition, the amassing of private fortunes during the country's unprecedented economic and financial growth led to an interest in sculpture for personal collections. Saint-Gaudens contributed works of both types. His Shaw Memorial (1897), commemorating the Massachusetts Fifty-fourth Regiment, the first U.S. Army unit of African Americans, and his Lincoln Monument (1887) are among the most moving of the nation's Civil War monuments, while his Adams Memorial (1891) is one of the most evocative of his privately commissioned works. France and spent eight years in Europe, where he found a freer and bolder form of artistic expression. On his return to the United States in 1875, he used his European training to create a new American style incorporating simplicity of subject, realism of form, and strength of emotion. In addition to his monuments, his works also included interior decoration for some of the great houses of the Gilded Age, portrait reliefs, and medals and U.S. coinage. his and the subsequent generation of American sculptors through his teaching and his lead in establishing organizations for the support and training of American artists, including the Society of American Artists. His legacy, as both artist and educator, is nothing less than the shaping of American culture.

Reviews 1

Choice Review

Saint-Gaudens (1848-1907), the "American Michelangelo," has certainly captured with a great distinctiveness in his public and private masterpieces the very essence of what sculptural monuments, large and small, actually visualize. His numerous portraits of Civil War heroes (1861-65), Lincoln himself, medals, US coinage, jewelry, etc, encapsulate his legacy, as both an artist and an open-mind educator. This short and richly illustrated catalog is priceless, an incredible tribute to the genius, deservedly remembered by the two contributors, Duffy and Dryfhout, whose scholarly, descriptive, and well-researched comments are invaluable. The iconography of Saint-Gaudens is not only historical but also allegorical, mythological, and religious, created often in multimedia. His unforgettably bewildering three- and two-dimensional images are characterized by gracefulness and timeless beauty. Each artwork possesses an obsession with a fragrant, intense, sorrowfully melancholic quality, yet proudly elegant, refreshingly dreamlike, and sensuous. The past exists in the now, since this exhibition started in early 2003 and will end in late 2005. Perhaps one may quote the "American Michelangelo" himself: "A sculptor's work endures so long it is next to a crime for him not to do everything in his power to produce a good result." ^BSumming Up: Highly recommended. General readers; graduate students; faculty. I. Spalatin Texas A&M University-Commerce

Table of Contents

Henry J. DuffyJohn H. Dryfhout
Acknowledgmentsp. 8
Itineraryp. 10
Lenders to the Exhibitionp. 11
American Sculptor of the Gilded Agep. 15
The Cataloguep. 45
Decorative Objectsp. 47
The Monumentsp. 56
Portraits in Reliefp. 89
Medals and U.S. Gold Coinagep. 117
Notesp. 121
Sourcesp. 126
Index of Worksp. 127