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Daniel Chester French

Male 1850 - 1931  (81 years)    Has more than 100 ancestors but no descendants in this family tree.

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  • Name Daniel Chester French 
    Birth 20 Apr 1850  Exeter, New Hampshire, USA Find all individuals with events at this location 
    Gender Male 
    Death 7 Oct 1931  Stockbridge, Berkshire CO, Massachusetts, USA Find all individuals with events at this location 
    Person ID I331976  Geneagraphie
    Last Modified 4 Jan 2002 

    Father Henry Flagg French,   b. Abt 1800, Massachusetts, USA Find all individuals with events at this locationd. Massachusetts, USA Find all individuals with events at this location 
    Mother Anne Richardson,   b. Abt 1820, Massachusetts, USA Find all individuals with events at this locationd. Massachusetts, USA Find all individuals with events at this location 
    Family ID F131884  Group Sheet  |  Family Chart

  • Photos Photos (Log in)Photos (Log in)

  • Notes 
    • Sculptor
      moved with his family to Concord, Massachusetts. He enrolled in MIT, but dropped out after two semesters to pursue apprenticeships in New York and Boston after having been introduced to sculpture by Louisa May Alcott's sister, May.
      French received his first major commission in 1872 for Concord's Minute Man statue. After completing the work, he spent almost two years in Italy as an apprentice to sculptor Thomas Ball. Returning to America, he moved into a farm house in Stockbridge, Massachusetts and took on more and more commissions, including the Herodotus and History statues at the Library of Congress in Washington, DC (1890), several works for the Chicago World's Fair (1893), a bust and replica of MIT President Francis Amasa Walker (1898), bronze doors Knowledge and Wisdom, Truth and Romance, and Music and Poetry for the Boston Public Library (1902), Longfellow Memorial in Cambridge (1914), Dupont Memorial Fountain in Washington, DC (1917), and the Washington Irving Memorial in Irvington-on-Hudson, New York (1928).
      French first sculpted Abraham Lincoln in 1909 as a commission for the Nebraska State Capitol. He began his statue for the Lincoln Memorial in 1915, working with Henry Bacon, architect of the memorial. After creating several models, French hired his frequent collaborators, the Piccirilli brothers, to carve the marble. The Lincoln Memorial was dedicated on May 30, 1922. Upon his death in 1931, Daniel Chester French had created over 250 sculpture and memorials in 21 states as well as in Paris, France.
      ***********************
      reared in Cambridge and Concord, Massachusetts. He studied anatomy and drawing in Boston before being accepted to work in the New York studio of John Quincy Adams Ward, then considered the leading practitioner of sculpture in this country. A critic writes that in Ward's studio French began to seek "higher forms of sculpture" than the small genre pieces he had been modeling.
      Returning home to Concord, French received a commission for a statue to commemorate the battle of Concord Bridge. His resulting work, the bronze Minute Man, brought overnight fame to the artist. French furthered his education abroad, in Florence in the studio of American artist Thomas Ball, and in Paris. His colossal figure, The Republic, which can still be seen in Jackson Park in Chicago, received public acclaim at the Chicago Fair of 1893.
      Throughout his long career, French executed numerous public sculptures and private commissions, including portrait busts of prominent New Englanders. Among his most successful works are the gigantic seated figure of Abraham Lincoln in the Lincoln Memorial in Washington, and standing Lincoln at the west entrance of the Nebraska State Capitol, for which the maquette in this exhibition was a model. In his book, The History of American Sculpture (New York, NY: The Macmillan Company, 1930), Laredo Taft wrote of French, "It is his great distinction to have created good sculpture which the people could love; works which reveal their beauty to the most primitively informed in art, and which nevertheless are gratifying to the brother craftsmen. . . . No one has a greater following and yet, most agreeable paradox! no one has done better work."



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