Have you ever noticed the big metal doors at the Business Entrance of The Mariners’ Museum and Park? Have you ever thought that maybe they were a little fancy for an entrance where deliveries are made and staff enters to gather our badges and trek to wherever our offices happen to be on-site? Well, those doors, made of bronze, are actually part of our Collection and used to be the Main Entrance to the Museum!
他们背后有一个故事。正如您可能在以前的博客中读到的那样，阿彻·亨廷顿（Archer M. Huntington）是水手博物馆和公园建造的推动力。亚博平台网址他的愿景是进入博物馆的惊人入口，这会使人们停下来说“哇！”。顺便说一句，这就是为什么博物馆的原始部分具有非常不寻常的“亨廷顿挤”砖和砂浆技术的原因。它是通过不刮下砂浆来完成的，因为在墙壁结构中添加了一层砖块。
Archer really liked it and used the style often at many of his homes and museums. I’m sure constructing it made brick mason’s cringe. Anyway, he wanted some really impressive doors for his new Museum. So where did he turn? To his longtime friend, Herbert Adams, professional and very successful sculptor extraordinaire.
塞缪尔·赫伯特·亚当斯（Samuel Herbert Adams）于1858年出生于马萨诸塞州西康科德（West Concord）。五岁的时候，他的家人搬到了马萨诸塞州的菲奇堡，因此他的父亲可以在普特南机器公司（Putnam Machine Company）工作。他上了公立学校，并受到他的第一位艺术老师从事艺术事业的启发。亚当斯就读于波士顿的马萨诸塞州师范大学，并获得了教学证书。从1878年到1882年，他任教，认为这不是他的时间或才华的最佳利用，他离开了法国巴黎。从1885年到1890年，他与安东尼·梅西（AntoninMercié）学习艺术。
In 1889 private funds were donated for an ornamental fountain to be built in the “town square” in Fitchburg, Massachusetts, Adams’ home town. This 26-foot diameter granite and bronze fountain showing two playful boys and a family of turtles was the first public commission awarded to Adams and was created in his Paris studio. This was the first, large sculpture, done in the “lost-wax” process, brought to America. Below is a video from the National Sculpture Society (yes, Adams was a member) about the “Lost Wax Casting Process”.
这是成功的一年,对于赫伯特·亚当斯(他的t use his first name of Samuel) as this was also the year that he married his wife, Adeline Valentine Pond. Isn’t that just a lovely name? Ironically she grew up in Boston, Massachusetts, but they found one another in Paris! They met in 1887 when she posed for a marble bust that ended up being exhibited at the Chicago’s World Fair in 1893.
She inspired her husband to use a new technique of polychrome busts and tinted marbles. It was very new and cutting edge.
Interestingly enough, they both attended the Massachusetts Normal School in Boston. Basically, it was a college to prep students to become teachers. Although only a year apart, he started at 18 and Adeline started at age 21. She was an artist in her own right but was also a huge advocate for female sculptors, including Anna Hyatt Huntington (our Museum’s benefactor). She also advocated for war memorials to be created with purpose by professional artists, instead of being mass-produced in factories.
阿德琳写了七本书，包括美国雕塑的精神；雕塑家丹尼尔·切斯特·法国（Daniel Chester French）；Childe Hassam：约翰·昆西·亚当斯·沃德（John Quincy Adams Ward）：赞赏；西尔维亚：美国雕塑的展览；和“Our medals and Our Medals.”是的，该出版物确实在标题中确实具有较低的“ M”案例。烦人，我知道。她还写了很多诗歌，其中包括两个有关她已故女儿玛丽和西尔维亚的收藏，他们俩都死于婴儿期。
Basically, what we have here is an artistic power couple who moved in creative, cultured circles. They began spending summers at the Cornish Artists’ Colony in Cornish, New Hampshire, in the late 1890s. Artists’ Colony? Well, the image below is just the sort of thing that comes to mind when one says “Artists’ Colony”, am I right?
And that really is part of it. The Cornish Artists’ Colony was one of the more popular places for creative fine art activity in the eastern United States. Between, 1895 and 1925, nearly 100 artists, sculptors, writers, designers, and well-known politicians chose Cornish as the area where they wanted to live either full time or during the summer months. Parties, drama, theater, games, and any kind of art you can imagine went on there. There is even a historical marker!
甚至是一本书！是的，当然，我订购了它。
赫伯特（Herbert）和阿德琳（Adeline）于1890年底开始在康沃尔（Cornish）度过夏天。他们在附近的普莱恩菲尔德（Plainfield）购买了土地，并建造了一所房子，他将其命名为“冬宫”。该房屋包括室外露天剧场（现在，谁不需要自己的圆形剧场？）进行戏剧演示，是由他的艺术家朋友查尔斯·A·普拉特（Charles A. Platt）设计的。伍德罗·威尔逊（Woodrow Wilson）总统的第一任妻子艾伦（Ellen）是殖民地季节性居民，他于1913年每天写信给她的丈夫，并说：“先生赫伯特·亚当斯夫人在智力和精神上都是殖民地的选择。”在他的其他才华中，赫伯特显然也是王牌的王牌！亚当斯在殖民地度过了40个夏天。然而，他们叫纽约家。
那么，赫伯特在今年剩下的时间里做什么？1890年至1898年，他是纽约布鲁克林普拉特学院艺术学院的教练。He was elected into the National Academy of Design in 1898: and in 1906, was elected vice president of the National Academy of Design, New York.赫伯特（Herbert）后来从1917年到1920年担任总统。他还是美国钱币学会的一部分（与硬币，纸币和奖牌有关的所有事物的奇特名称）。阿切尔·亨廷顿（Archer M. Huntington）也是一名会员，并在1929年为博物馆的扩张而付费。安娜·凯悦（Anna Huntington）也设计了奖牌。如您所见，Archer和Herbert可以见到几种重叠的方式。他们的妻子已经彼此认识。弓箭手需要一个惊人的雕塑家。但是为什么赫伯特·亚当斯（Herbert Adams）具体？让我们看看他已经设计的一些门：
The Bronze Doors at The Mariners’ Museum and Park were commissioned in 1932. Commenting on the commission, Herbert Adams said, “The history of shipping and the mythology of the sea allowed for freedom of fancy and freshness, and a variety of ornament.”
He created the clay sculptures over the next three years, done panel by panel. The bad relief panels include historic ship designs, detailed sea life, images of man working and navigating the sea, maps of continents and heavens, and mythological creatures, all surrounded by historically accurate maritime rope and knot-work.
In August of 1935, the Gorham Company of New York cast the central doors and transom piece in Providence, Rhode Island (my home state!). They were shipped to Newport News Shipbuilding and Dry Dock via a ship of the Merchants and Miners Transportation Company. They were moved to the Museum in November and by January of 1936, the central doors and transom had been installed, cleaned, and patinaed. In November of 1936, the side panels were completed and shipping in March of 1937, and then installed. The doors were completed in June of 1937. The doors include a triptych and are filled with imagery.
“三联画”的定义1.一张图片（例如祭坛）或并排雕刻。
阿切尔·亨廷顿（Archer M. Huntington）希望他的全球视野在四个巨大的面板中，并带有横梁。他的任务是：“该博物馆致力于海洋及其支流的文化 - 它被人征服及其对文明的影响”（如果您关注我们的博客，您会知道我们已经对此进行了一些更新）。因此，他确实得到了他所希望的，这仍然是一个三联，因为中心是两扇门，但这是一个部分！
我当时包括赫伯特·亚当斯（Herbert Adams）和几位博物馆员工之间的几封信函。这些是我们收藏的一部分。那有多棒？您可以阅读别人的邮件！
Years ago, well not THAT long ago (10 years?), but in my time at the Museum, we used to close the Bronze Doors every night to cover the inner glass doors. It took quite a bit of effort as the doors are VERY heavy. They slide on a track at both the top and bottom. Well, I was pushing with my back, a rock had fallen in the lower track (unbeknownst to me), the door wouldn’t budge, I shoved harder and threw out my back! It was decided then that maybe the doors should not be moved daily. Our Conservation team does periodic scheduled checks on them and cleaning when necessary. After all, we would like them to last for a very long time!
Aren’t these doors amazing? And even better, you can be part of keeping their legacy alive!
青铜门协会是水手博物馆和公园中最古老，由会员管理的亲和力小组。亚博平台网址这个活跃的小组主要通过投资我们的世界一流收藏来支持博物馆的使命和计划。每年10月，该协会成员都被邀请投票赞成博物馆工作人员在协会的年度晚宴和项目选择活动中开发和提出的一系列项目。我们邀请您加入一群领导人，他们在确保保护世界丰富的海洋遗产方面发挥作用。要了解更多信息，请致电（757）591-7705与LuisaA.Vázquez-López联系[email protected]
您还可以在此处阅读并获取更多信息：//www.boxorats.com/bronze-door-society/
这是博物馆收藏目录中铜门的链接。由辛西娅·卡茨（Cynthia Katz）（很棒的长期青铜门协会成员）撰写的《铜门门》中的面板的描述很棒。我在博客文章中更新了一些历史记录，因为我们了解了有关艺术家和门本身的更多信息。
To me the doors are nice, but my favorite is the ship above the doors. Sorry
不，太棒了！因为赫伯特·亚当斯（Herbert Adams）也做了横梁（这就是船所在的那个区域）。这是整个包裹！
我编辑了博客文章，并添加了一张正在创建的横梁的照片。谢谢阅读！
美好的历史！谢谢你。
Gerry Hanley
Thank you very much, Gerry!