to Pauline Frances Manship. Thus, Manship's professional career and personal life moved briskly forward that year. His growing public appeal can be measured by the response to a show at the Berlin Photographic Company in which almost one hundred pieces were sold. His peers honored his achievement as well with a gold medal at the San Francisco Panama-Pacific Exposition in 1915.

The Manships were a prosperous young couple, socially on the rise in 1915, and their new home and studio at Washington Mews in Manhattan were ideal for entertaining. Manship was a hard worker, but he also played hard. He joined a number of clubs: the National Arts Club;
Pauline Frances; marble and polychromed bronze; 1914 Metropolitan Museum of Art,
New York
the Players Club; the Coffee House; and his favorite, the Century Club. During the next three summers the family was unable to travel in Europe due to the war so they rented a house in Cornish, New Hampshire, where they participated in the art colony that Saint- Gaudens had helped establish there. Manship also came to know some of the intellectual and artistic elite of Boston, such as Denman Ross of the Boston Museum of Fine Arts, as a result of an exhibition at the Saint Botolph Club. Ross invited Manship to a luncheon with John Singer Sargent, who was eager to meet the sculptor of work that had impressed him on a visit to the Metropolitan Museum of Art in New York City. For Manship, this was an event of considerable importance.

Sargent was then perhaps the most celebrated painter in the world and his great reputation was equaled by a great generosity. Sargent and Manship soon developed a close rapport, despite the thirty- year difference in their ages, and over the years Sargent proved a good friend to the sculptor. Paul Manship was always fortunate in his friends. He made friends easily, and as a friend he was easy- going, undemanding, and profoundly loyal. During these early years of professional success he made a number of friendships that were to be of great importance to him, in some cases for the duration of his life. As a tribute to his deceased friend, the Manships later named their third child and only son John Paul (born 1927) for John Singer Sargent and for his father.

When his reputation in America was secure, Manship moved his family to London, England, where he worked in Sargent's studio during the summer of 1921. He then moved his family to Paris, where his second daughter Elizabeth Robinson was born. (As a grown woman, Elizabeth
John Singer Sargent Portrait Medal
1923; bronze
Manship Solomon distinguished herself as a fine painter, as well.) While Manship refreshed his imagination in the Mediterranean, exhibitions of his work continued in the United States. During this period, Grace Rainer Rogers asked Manship to create a memorial to her brother to be erected at the New York Zoological Park in the Bronx. Paul Rainey had been a big game hunter and animal collector who had trapped rare animals for the zoo until his death in 1925. Manship's innovative format -a set of monumental bronze gates that included a menagerie of animal figures -allowed him to fully explore and exploit the patterns created by the animal form. He also took great advantage of the decorative effect created by the negative spaces
of the design.The animals he modeled for this project are wonderfully alive and rather humorous in their depictions of the distinct personalities of each species. Manship returned to many of these same animal figures in later years to fashion new compositions.
Paul J. Rainey Memorial Gateway
New York Zoological Park
1934; bronze
Back to Top
Click for More...
© 2002 Quarry Gallery; All rights reserved