The modesty ofthe presentationof the statuesbody,.docx

The modesty of
the presentation
of the statue's
body, which is
shrouded and
protected, is in
sharp contrast
to its bellowing
size. The copper
material actu-
ally aids that
effect, acting as
sharp armor.
mm' WE »
oday, the image of the Statue of Liberty brightly illuminated
at night is seared into the minds of millions. But the history

. -• of that lighting is a dim mix replete with unfulfilled hopes
and visions until the statue's centennial in 1986.
^ The copper torch of the statue was initially designed to be
a lighthouse that would send its light fifty miles out to sea,
but it never produced more than a weak glow.' In 1916, the
original was replaced by a torch created by the sculptor Gutzon
Borglum. That hght, now on display in the statue's museum,
used 600 independent pieces of yellow tinted glass "to enhance
and beautify the lighting effects,"^ but it leaked, allowing water
to enter and damage the statue's arm.' At that time, fifteen
500-candle-power gas-filled electric lamps were installed in the
torch, while 246 projectors using 250-watt incandescent bulbs
were distributed among the star points beneath the pedestal
and on the roofs of buildings on the Island, illuminating the
statue for the first time.''
The hghting of the statue underwent several fixes and
modernizations over the years, notably in 1931, 1945, and
1949,' but a thorough renovation of the lighting only occurred
with the major reconstruction of the statue, begun in 1984. The
lighting redesign was filled with challenges, both conceptual
and practical. Few outdoor sculptures are set against the
towering buildings and structures of a working urban harbor,
are surrounded by water, by moving boats and ships, and serve
as a national and international icon.
In 1986, to commemorate the Statue of Liberty's 100th
anniversary, relighting was undertaken by lighting designer
Howard M. Brandston, who collaborated with a team from
the General Electric Company. Their work is what we see
today. Lighting the statue was a formidable job, and designer
Brandston felt the pressure. Channeling "all of the immigrants
who came to the U.S.,"* he says, he designed the lighting to
emphasize the statue's height (151.1 feet) to "better refiect

the iconic role the Statue of Liberty plays
in American life and [its] towering role in
American culture."^
New luminaires, complete light fixtures,
translated vision into reality. "There aren't
many lamps meant to light ladies with green
skin," Brandston now chuckles,* but his
additional goal of emphasizing the sculptural
quality of the statue required work by the
GE team in Nela Park, Cleveland, Ohio, to
develop their metal halide lamps in two new
colors, which they created by varying the
chemistry of the gases within the bulb.' The
bulbs had to be created specifically to not
only light the green statue but also bring out
the depth and modeling of the figure's color
and robes.'"
The team tested the color of the lamps on
a copper statue that sits atop the Nela Park
laboratory, says John P. Erier, who was the
senior application engineer for the project. If
the light had any red in it, the copper looked
rusted. So the color of the lamps was moved to the blue-green
end of the spectrum. The two new lamp colors they created
are actually different saturations of the same color; the testing
Opposite page: At the lighting controls (c. 1945).
On this page: Test of the metal halide bulbs.
The challenge,
Frier says, was to

produce a beam
tightly focused
on the statue,
without sending
any light to the
air surrounding
it and creating an
aura, even in fog.
demonstrated to the GE team that it had to
create more of a difference between the colors
to achieve the desired modeling effects. To
this day, Erier says, GE doesn't use the Statue
of Liberty colors anywhere else."
But the bulb is only part of the lighting
solution. Erier, based at GE's lab in
Hendersonville, North Garolina, designed
the fioodlights that house the lamps. The
challenge, he says, was to produce a beam
tightly focused on the statue, without sending
any light to the air surrounding it and
creating an aura, even in fog. He developed a
ñoodlight with a parabolic reflector of highly
polished aluminum, paired with internal
shielding to prevent any stray light." Eorty of
the fioodlights, positioned around the statue
in five recesses around the perimeter of the

island, now illuminate the figure; two of those
positions have the darker color lamps and
three have the cooler temperature lamps.'^
A new torch was created as part of the
statue's renovation. It is copper, per the original, but is covered
with 24-karat gilding for added luminosity''' and is lit
externally.
The torch is surrounded by incandescent spotlights that are
similar to airplane landing lights, according to Frier,'^'as well
as
spots positioned below the torch."^ More of the metal halide
S C U L P T U R E R E V I E W 11
I
floodlights are mounted in the crown,^' and additional lights
illuminate the pedestal itself; the luminosity increases from
the star-shaped Fort Wood, built in the nineteenth century to
help defend the harbor,^* at the bottom to the pedestal and
up to the statue, so that the face and the crown receive the
brightest lighting.^'
.̂ The same floodlights illuminate the Washington Monument
(in a different color, of course), but that monument posed its
own challenges based on its shape and height. ,
Brandston, a sculptor hiinself, has since created lighting for
Battery Park City in Manhattan (among many other projects),
and lit sculptures included in that development, including those
by Martin Puryear and Mary Miss. He made the point that
in both cases he collaborated closely with the artists. "Every
project starts from ground zero," he says, otherwise the result

would not be a "work of art."^"
Rosen
12 T u R E. R E V I E W On this page: The new torch is
lowered into position (1986).
NOTES:
1. NPS Historical Handbook, "Statue of Liberty National
Monument,
Bedloes Island, New York: Improvements in the Statue Since
1886," www.
cr.nps.gov/history/online_books/hh/ll/hhllk.htm
2. Benjamin Levine and Isabelle F. Story
www.libertystatepark.org/statueof
Iiberty/soll9.shtml
3. Heather Cross, "Statue of Liberty Museum and Observatory
Tour
Pictures:,Original Statue of Liberty Torch
http://gonyc.about.com/od/
photogalleries/ss/statue_tour_2.
4. NPS Historical Handbook, ibid.
5. Edward J. Covington, "Relighting of the Statue of Liberty,"
at http://
home.frognet.net/~eicov/reiling.html
6. Author interview with Howard M. Brandston, October 1,
2012.
7. www.concerninglight.com/liberty.html
8. Author interview with Howard M. Brandston, October 1,

2012.
On this page: Lighting plan (1916).
Opposite page, top left: The torch and part of the arm of the
Statue of Liberty, on display at the 1876 Centennial Exhibition
in Philadelphia; opposite page, top middle: Inauguration of the
Statue of Liberty, military and naval salute at the President
Gro-
ver Cleveland's arrival for the unveiling on Oct. 28, 1886.
Opposite page, top right: Head of Statue of Liberty on display
in
park in Paris (1883); opposite page, middle right: Workmen
con-
structing the Statue of Liberty in Bartholdi's Parisian warehouse
workshop (1882); opposite page, bottont right: Statue of Liberty
at night in New York Harbor.
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Review
Author(s): Gabriel P. Weisberg
Review by: Gabriel P. Weisberg
Source: Art Journal, Vol. 36, No. 3 (Spring, 1977), pp.
272+274+276
Published by: College Art Association
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The Baschet Brothers are perhaps the best-
known proponents of sound sculpture. Their
work is collaborative, combining the engi-
neering expertise of Bernard with the sculp-
tural and acoustical abilities of Francois.
The public presentation of their "structures
sonores" generally takes the form of a concert
followed by an invitation to the audience to
come up on stage to try their hand at produc-
ing music on the variety of sound-producing
instruments, all of which are aesthetically
pleasing both to the eye and ear. The Baschet
Hemisfair Musical Fountain is also docu-
mented. The piece employs fluted and tubular
metallic shapes like their other works, but
produces sounds induced by varying intensi-
ties of water current propelled at the parts of
the instrument.
Another commonality which serves as a po-
tential in the interpretive dynamics of sound
sculpture is the possibility for music and ki-
netic sculpture to express change through
real time. With few exceptions, the history of
both music and the visual arts has evolved in
terms of set structures and ideal models. But
with the recent advent of notational scores in
music, as opposed to the absolute score which
a musician essentially reproduces with only
minor personal inflections when performing,

a new trend is developing in which the score,
like the expressive potential of sculptural me-
dia, serves as an approximation rather than a
model of exactitude. R. Murray Schafer con-
tributes a very thorough essay on the subject
in the book. Schafer refers to the expressive
visualization of musical structures as "the
graphics of musical thought." Other impor-
tant musicians (not included in the book) who
were instrumental in the development of no-
tational approaches to music writing include
Edgar Varese and Karl Stockhausen.
Additional experiments that depart from
the tradition of the static music model involve
new scales not based upon the traditional 12-
tone scale. The five-tone pentatonic scales
produced by William Colvig's gamelans
(acoustical instruments with resonators) are
included as an example of this.
In respect to the static traditions in sculp-
ture, Jack Burnham has pointed out that
there have been sculptural artifacts through-
out history, generally ignored by art histo-
rians, that served a practical function as ob-
jects designed to do something, usually in
connection with ritual. Fetishes, idols, amu-
lets, funeral images, dolls, wax-works, mani-
kins, puppets, and automata are among those
cited by Burnham. The emergence of sound
sculpture, along with other vitalistic art
forms, may be ascribed to what Burnham re-
fers to in Beyond Modern Sculpture as "form
exhaustion and the rise of phenomenalism,"

or it may be defined as a return to basic,
ritual experience, as Grayson suggests in his
note on the founder of sound sculpture, Harry
Partch. Partch was the first (modern) sculp-
tor to combine the three phases that Grayson
feels are integral to the idiom: magical
The Baschet Brothers are perhaps the best-
known proponents of sound sculpture. Their
work is collaborative, combining the engi-
neering expertise of Bernard with the sculp-
tural and acoustical abilities of Francois.
The public presentation of their "structures
sonores" generally takes the form of a concert
followed by an invitation to the audience to
come up on stage to try their hand at produc-
ing music on the variety of sound-producing
instruments, all of which are aesthetically
pleasing both to the eye and ear. The Baschet
Hemisfair Musical Fountain is also docu-
mented. The piece employs fluted and tubular
metallic shapes like their other works, but
produces sounds induced by varying intensi-
ties of water current propelled at the parts of
the instrument.
Another commonality which serves as a po-
tential in the interpretive dynamics of sound
sculpture is the possibility for music and ki-
netic sculpture to express change through
real time. With few exceptions, the history of
both music and the visual arts has evolved in
terms of set structures and ideal models. But
with the recent advent of notational scores in
music, as opposed to the absolute score which
a musician essentially reproduces with only

minor personal inflections when performing,
a new trend is developing in which the score,
like the expressive potential of sculptural me-
dia, serves as an approximation rather than a
model of exactitude. R. Murray Schafer con-
tributes a very thorough essay on the subject
in the book. Schafer refers to the expressive
visualization of musical structures as "the
graphics of musical thought." Other impor-
tant musicians (not included in the book) who
were instrumental in the development of no-
tational approaches to music writing include
Edgar Varese and Karl Stockhausen.
Additional experiments that depart from
the tradition of the static music model involve
new scales not based upon the traditional 12-
tone scale. The five-tone pentatonic scales
produced by William Colvig's gamelans
(acoustical instruments with resonators) are
included as an example of this.
In respect to the static traditions in sculp-
ture, Jack Burnham has pointed out that
there have been sculptural artifacts through-
out history, generally ignored by art histo-
rians, that served a practical function as ob-
jects designed to do something, usually in
connection with ritual. Fetishes, idols, amu-
lets, funeral images, dolls, wax-works, mani-
kins, puppets, and automata are among those
cited by Burnham. The emergence of sound
sculpture, along with other vitalistic art
forms, may be ascribed to what Burnham re-
fers to in Beyond Modern Sculpture as "form

exhaustion and the rise of phenomenalism,"
or it may be defined as a return to basic,
ritual experience, as Grayson suggests in his
note on the founder of sound sculpture, Harry
Partch. Partch was the first (modern) sculp-
tor to combine the three phases that Grayson
feels are integral to the idiom: magical
sounds, visual form and beauty, and experi-
enced ritual.
Several categories of sound sculpture may
be detected in Grayson's book. Of these, the
first may be attributable to the specific back-
grounds of some of the artists in the visual
arts, resulting in works with a distinct em-
phasis upon visual forms that are constructed
in a manner that produces sounds comple-
mentary to those forms. Among these are the
works by sculptors Charles Mattox, Stephen
Von Huene, David Jacobs, and Reinhold Pie-
per Marxchausen. Differences may be ob-
served within this group in respect to the
kinds of sounds produced, some mechanical,
others electronic. The visual distinctions in
their works range from the formal simplicity
of Mattox's works to the comical whimsy of
those by Jacobs and Von Huene.
Lou Harrison, Schafer, and Rosenboom em-
ploy sound instruments and scores that are
logical extensions of their formal studies in
musicology, while an interest in technology,
video, and computer programming is mani-
fested in the development of works by Walter
Wright, David Rothenberg, John Chowning,

and Earls. A further group appears to center
upon creating variations on traditional in-
struments, such as Colvig's gamelans, the
amplifying clavichord of Ivor Darreg, and the
muscial carillon of Tony Price. The chimelike
tubular structures Harry Bertoia makes are
based upon conventional acoustical princi-
ples, but remain distinctly contemporary in
their visual and audio qualities.
The essays in the book do not indulge in the
ambiguous theoretical territories of the Ro-
mantic era, such as the equivalencies be-
tween instrumentation in music and color in
painting proposed by Berlioz and Delacroix in
the 19th century. When the artists in Sound
Sculpture delve into theoretical discussion, it
is a direct extension of their practical experi-
ments with materials, instruments, and
events that involve sounds within the context
of music as a special event in real time and
space.
Artists, musicians, historians, and even
the layman who wishes to make his own
sound sculptures will all gain a great deal
from the straightforward approach taken by
Grayson in this book. As such, it is an impor-
tant documentation of an exciting area of con-
temporary art that will continue to evolve
even though it has received little more than
cursory attention in critical journals and
books on art.
JAMES W. DAVIS

Western Illinois University
Marvin Trachtenberg, The Statue of Liberty,
London, Penguin Books Ltd., 1976. 224 pp.
of plates and text, $14.95.
To write about a national shrine is a difficult
task, one which Marvin Trachtenberg has
solved with his book The Statue of Liberty.
sounds, visual form and beauty, and experi-
enced ritual.
Several categories of sound sculpture may
be detected in Grayson's book. Of these, the
first may be attributable to the specific back-
grounds of some of the artists in the visual
arts, resulting in works with a distinct em-
phasis upon visual forms that are constructed
in a manner that produces sounds comple-
mentary to those forms. Among these are the
works by sculptors Charles Mattox, Stephen
Von Huene, David Jacobs, and Reinhold Pie-
per Marxchausen. Differences may be ob-
served within this group in respect to the
kinds of sounds produced, some mechanical,
others electronic. The visual distinctions in
their works range from the formal simplicity
of Mattox's works to the comical whimsy of
those by Jacobs and Von Huene.
Lou Harrison, Schafer, and Rosenboom em-
ploy sound instruments and scores that are
logical extensions of their formal studies in
musicology, while an interest in technology,
video, and computer programming is mani-

fested in the development of works by Walter
Wright, David Rothenberg, John Chowning,
and Earls. A further group appears to center
upon creating variations on traditional in-
struments, such as Colvig's gamelans, the
amplifying clavichord of Ivor Darreg, and the
muscial carillon of Tony Price. The chimelike
tubular structures Harry Bertoia makes are
based upon conventional acoustical princi-
ples, but remain distinctly contemporary in
their visual and audio qualities.
The essays in the book do not indulge in the
ambiguous theoretical territories of the Ro-
mantic era, such as the equivalencies be-
tween instrumentation in music and color in
painting proposed by Berlioz and Delacroix in
the 19th century. When the artists in Sound
Sculpture delve into theoretical discussion, it
is a direct extension of their practical experi-
ments with materials, instruments, and
events that involve sounds within the context
of music as a special event in real time and
space.
Artists, musicians, historians, and even
the layman who wishes to make his own
sound sculptures will all gain a great deal
from the straightforward approach taken by
Grayson in this book. As such, it is an impor-
tant documentation of an exciting area of con-
temporary art that will continue to evolve
even though it has received little more than
cursory attention in critical journals and
books on art.

JAMES W. DAVIS
Western Illinois University
Marvin Trachtenberg, The Statue of Liberty,
London, Penguin Books Ltd., 1976. 224 pp.
of plates and text, $14.95.
To write about a national shrine is a difficult
task, one which Marvin Trachtenberg has
solved with his book The Statue of Liberty.
Trachtenberg notes that monuments are not
valued today; misunderstandings have arisen
about previous examples. Liberty, now desig-
nated as the "Queen of Pop Art," should be
seen in her more appropriate guise as "just
one of many monuments, a large and unusual
one, to be sure, in an age of monument build-
ing." By reconstructing the atmosphere that
led to creation of this gigantic form and by
studying its principal designer, Frederic Au-
guste Bartholdi, Trachtenberg makes clear
how the "statue of liberty" emerged as it did.
Trachtenberg claims that France was con-
sumed by missionary zeal in the latter half of
the 19th century. The country was a major
world power; Liberty became an icon, the bea-
con which could cement ties with the United
States by reconfirming a friendship that had
existed since revolutionary times. The statue
also symbolized French aspirations, firing the
new republic across the seas with the same
desires that had once stirred European de-
mocracy.

In reconstructing attitudes in France after
the Franco-Prussian War (1870), Trachten-
berg illuminates why the statue could not
have been placed on native soil. He under-
scores its Republican content-the image
owed much to earlier icons (ca. 1848)-and
notes that during the last part of the century
lofty ideals were not always favored. French
governmental policy fluctuated between mo-
narchical ideas, republicanism, and a revivi-
fied Bonapartism. The author describes how
the movement to create the monument
emerged, sensitively drawing together varied
cultural influences and providing the proper
context in which to place the statue within its
own period.
With a foundation established, Trachten-
berg moves on to consider the creator of the
monument, Frederic Auguste Bartholdi-an
artist of limited imagination, but one impor-
tant for the themes he selected. As a patriot
from German-annexed Colmar, Bartholdi be-
came obsessed with moral qualities; he advo-
cated the highest ideals by creating visible
monuments dedicated to these themes. Al-
though his works reflect a conservative choice
of imagery, Bartholdi had a singular talent
which made him "... perfectly suited for the
new specialist role of public monument-
maker. He did not produce . . . museum art
either for his own or any future age, yet we
should not discount the relevance of his work
... to a public for whom monuments were
still a prevalent concern." Trachtenberg

makes the telling comparison that Bartholdi
"was as perfectly equipped for success in
building monuments for the late 19th century
as Bernini was for Baroque Rome."
Bartholdi had one passion which the author
reveals as basic to his creative process: a use
of the colossal. As a late romantic, Bartholdi
combined neoclassic imagery with gigantic
form to create shapes that may have been
inspired by a trip to Egypt in the 1850s. The
artist sought to equal the magnitude of Egyp-
Trachtenberg notes that monuments are not
valued today; misunderstandings have arisen
about previous examples. Liberty, now desig-
nated as the "Queen of Pop Art," should be
seen in her more appropriate guise as "just
one of many monuments, a large and unusual
one, to be sure, in an age of monument build-
ing." By reconstructing the atmosphere that
led to creation of this gigantic form and by
studying its principal designer, Frederic Au-
guste Bartholdi, Trachtenberg makes clear
how the "statue of liberty" emerged as it did.
Trachtenberg claims that France was con-
sumed by missionary zeal in the latter half of
the 19th century. The country was a major
world power; Liberty became an icon, the bea-
con which could cement ties with the United
States by reconfirming a friendship that had
existed since revolutionary times. The statue
also symbolized French aspirations, firing the
new republic across the seas with the same
desires that had once stirred European de-

mocracy.
In reconstructing attitudes in France after
the Franco-Prussian War (1870), Trachten-
berg illuminates why the statue could not
have been placed on native soil. He under-
scores its Republican content-the image
owed much to earlier icons (ca. 1848)-and
notes that during the last part of the century
lofty ideals were not always favored. French
governmental policy fluctuated between mo-
narchical ideas, republicanism, and a revivi-
fied Bonapartism. The author describes how
the movement to create the monument
emerged, sensitively drawing together varied
cultural influences and providing the proper
context in which to place the statue within its
own period.
With a foundation established, Trachten-
berg moves on to consider the creator of the
monument, Frederic Auguste Bartholdi-an
artist of limited imagination, but one impor-
tant for the themes he selected. As a patriot
from German-annexed Colmar, Bartholdi be-
came obsessed with moral qualities; he advo-
cated the highest ideals by creating visible
monuments dedicated to these themes. Al-
though his works reflect a conservative choice
of imagery, Bartholdi had a singular talent
which made him "... perfectly suited for the
new specialist role of public monument-
maker. He did not produce . . . museum art
either for his own or any future age, yet we
should not discount the relevance of his work
... to a public for whom monuments were

still a prevalent concern." Trachtenberg
makes the telling comparison that Bartholdi
"was as perfectly equipped for success in
building monuments for the late 19th century
as Bernini was for Baroque Rome."
Bartholdi had one passion which the author
reveals as basic to his creative process: a use
of the colossal. As a late romantic, Bartholdi
combined neoclassic imagery with gigantic
form to create shapes that may have been
inspired by a trip to Egypt in the 1850s. The
artist sought to equal the magnitude of Egyp-
ART JOURNAL, XXXVI/3 ART JOURNAL, XXXVI/3 272 272
2015 22:25:33 UTC
tian art in his public monuments, drafting
designs for a lighthouse at the entranceway to
the Suez Canal (1867) which not only immor-
talized liberty united with progress but which
suggested origins in the Colossus of Rhodes
straddling a major waterway. When these
sketches and models were not realized, Bar-
tholdi used his conception to formulate the
first model for his American project, Liberty,
in 1870.

One point made in this chapter is unusual:
Bartholdi's fervent patriotism led him to de-
velop deep personal ties with the Liberty im-
age. Because his mother was chained to the
Colmar region, Bartholdi apparently equates
the statue's face with that of his lost relative.
Trachtenberg's intuitive perception, based on
assessment of Bartholdi's plight, demon-
strates that the emotional core of Bartholdi's
conception of liberty "expresses not only
triumph but embittered desire."
The next two chapters are the intellectual
core of Trachtenberg's thesis; he traces the
evolution of the liberty theme from classical
times to the 19th century and then examines
how the tradition of "the colossal vision"
found actuality in Bartholdi's statue. Trach-
tenberg found that the iconographic pattern
of the liberty image eventually changed from
classical models into something less specific
in the 19th century, "involving liberties of
many kinds." Familiar with Delacroix's revo-
lutionary icon of Liberty Leading the People
(1830), Bartholdi modified the specific pa-
triotic fervor of this earlier example by hav-
ing the figure hold a torch of enlightenment.
In order to explain the evolution and mean-

ing of Bartholdi's Liberty, Trachtenberg fo-
cuses first on the broken chains at her feet,
which establish her as a martyr. In examin-
ing the statue's face, Trachtenberg discusses
the radiant crown which adds an aura of bea-
titude, as if meant to symbolize divine wis-
dom. The nimbus is explained as emerging
from the classical tradition; it was used ear-
lier by Canova in an image of Faith (1787-92).
Liberty's torch, another important attribute,
is a beacon illuminating the world. The tab-
let, inscribed with the date of American inde-
pendence, specifically ties the sculpture to the
American Republic.
The following chapter assesses the tradi-
tion of visionary architecture, placing Liberty
within a different context. Searching for the
origins of mammoth sculpture in France,
Trachtenberg comments on two large-scale
images of the Virgin (the Virgin of Le Puy
and Notre Dame de la Grande, Marseilles)
that may have served as precedents for Bar-
tholdi. Again the author notes that the sculp-
tor kept classical prototypes in mind, such as
the images of Phidias, in order to reuse them
in his own period.
Outside France there was also considerable
interest in colossal sculpture, as Trachten-

berg demonstrates by describing the use of
this type in Germany. The monuments to
Frederick the Great (1820-30) and Bavaria
(1837-48) were models Bartholdi might have
known when he started to perfect his concept
of Liberty. Perhaps the French dedication to
liberty could be seen as a counterbalance to
icons in Germany such as Arminius (1819-
1875), which often twisted the truth by show-
ing the militaristic might of a newly indus-
trialized nation. With German nationalism a
problem for the French, especially following
the shattering defeat in the Franco-Prussian
War, the "sheer material glory of Liberty was
certainly one of the reasons why she was fi-
nancially backed so enthusiastically by the
French." Liberty also became the culmination
of the tradition of colossal monuments; Trach-
tenberg studies this tradition by deciphering
the iconographic patterns that made the
American statue such a good use of previous
examples.
In his discussion of the site, Trachtenberg
moves away from thematic considerations to
a detailed examination of the statue as
viewed in its actual location. He again con-
jures up the relationship of Liberty with the
classical past by emphasizing that such colos-
sal statues were traditionally positioned on or
near water. Bartholdi "perceived not only the
romance and grandeur of the setting but the

significance of the site as the main gateway to
the New World." Theory and practice were
thereby united. This section of the book also
presents the first attempt to consider the
statue as a visual phenomenon, by trying to
reconstruct how one would perceive the work
when first entering the harbor. Several van-
tage points emerge, and Trachtenberg records
each subtle shift through a new photograph
demonstrating how the double image-of
seeing the statue while in motion and finally
from a rigidly erect posture - were paramount
to Bartholdi's conception. With Liberty posi-
tioned on Bedloe's Island and not absorbed on
the tip of lower Manhattan, "Bartholdi
achieved-by kinetic implication if not in ac-
tuality-an ingeniously simple resolution of
the 'ideal' Rhodian image with the topo-
graphic realities and the position of the spec-
tator."
Moving on to a detailed study of Liberty as
an actual object, Trachtenberg notes how the
piece was made. His training as an architec-
tural historian is helpful as Trachtenberg re-
constructs, through the use of documentary
photographs found in the Bartholdi Museum,
Colmar, the piece's evolution from plaster
casts to the large-scale, copper-plated image
in New York harbor. A key segment presents
the role played by Viollet-le-Duc, the first of

Liberty's engineers, and then by Gustave Eif-
fel in permitting the statue to stand with a
minimum of structural problems. Trachten-
berg's assessment of Eiffel's role in the evolu-
tion of Liberty is singularly impressive. Eif-
fel, who had pioneered the use of continuous
girder construction, the application of flexible
joints, and the creation of spidery iron pylons,
was responsible for the success of Liberty; he
helped to combine the talents of the sculptor
and engineer in the final creation of the work.
Through a series of explicit photographs of
the internal core of Liberty, the technical in-
novations of Eiffel become apparent, permit-
ting one to understand how the outer copper
skin was connected to the core through a sys-
tem of lightweight trusswork. The skin "is
not rigidly attached to the armature but
floats at the ends of hundreds of flexible mem-
bers that form a suspension to which the en-
tire skin adheres." Thus, Eiffel's innovation
of an outer shell supported by springs is made
intelligible not only through a detailed text
but the helpful use of photographic aids which
further reveal these contributions. Trachten-
berg makes a telling point-one prophetic of
the future-in that Liberty was a "curtain-
wall construction."
Trachtenberg devotes a closing segment of
the book to the problems of the pedestal. The
statue was so large that it needed a very firm
support so as not to sway in the harbor winds.
Eiffel's floating skin, permitting thermal con-

traction and expansion, solved this problem.
Similarly, the difficulty of holding the statue
aloft and allowing it to be seen without ruin-
ing the effect from a passing ship was solved
by the pedestal design of architect Richard M.
Hunt. Hunt and Bartholdi were committed
"to academic procedure and the satisfactions
of their patrons rather than to the fulfillment
of any abiding personal artistic vision." The
author illuminates Hunt's development of the
pedestal, evolving as it did from the imagina-
tive concept of allowing Liberty to be seen as a
new classical wonder to its final truncated
base completed under the influence of French
classical tradition.
The final chapter tells the story of Liberty's
acceptance by America, revealing the initial
lack of support the statue received from the
federal government and from the people of
this country. Unprepared for the gift, many
Americans felt that New York should pay for
the honor of having the statue in its harbor.
However, these provincial ideas did not win
out; newspaper editor Joseph Pulitzer moti-
vated a fund-raising campaign which even-
tually led to the placement of the statue on
Bedloe's Island in October 1886. Trachtenberg
states that the image was soon recognized as
an honored American icon with intense ap-
peal. His closing remarks reveal a personal

point of view, for despite "iconographic as-
sault and degradation, Bartholdi's colossus
remains, for good or ill, the image of Amer-
ica."
There is little doubt that Trachtenberg's
study will long remain the basic work for an
understanding of Bartholdi's Liberty. His de-
tailed research and his ability to relate the
sculpture to broader themes are impressive.
But more importantly, Trachtenberg's work
should be seen as a classic model of art his-
tory. He has taken one work of art and ex-
ART JOURNAL, XXXV1/3 274
2015 22:25:33 UTC
plored it from many different facets- intellec-
tual, cultural, personal, stylistic, and techni-
cal-to provide a format and method for an
art historian viewing a work in context. The
fact that Trachtenberg did not value the work
aesthetically, often noting that Bartholdi was
unimaginative or that he labored to revive
the classical past only to succeed in "embalm-
ing" it, provides a case in point that an art
historian need not be enamored of the work

he is studying. By taking a work from which
he is spiritually detached and obviously out of
sympathy with its aesthetic contribution, he
is able to recognize its value to the spirit of an
age. This is no small achievement. When this
intellectualization further leads to the illumi-
nation of lost traditions and personalities, as
it does with Liberty, then we have more than
a contribution to knowledge; we have
achieved, as Trachtenberg has, an integrated
art-historical work that leaves the reader
with a deeper understanding of a specific
work of art and the history of ideas which led
to its formulation.
GABRIEL P. WEISBERG
Cleveland Museum of Art
All inquiries should be addressed to the Book
Review Editor: Donald B. Kuspit, Dept. of
Art, Ackland Art Center, University of North
Carolina at Chapel Hill, North Carolina
27514. Unsolicited manuscripts will not be
considered.
books received
plored it from many different facets- intellec-
tual, cultural, personal, stylistic, and techni-
cal-to provide a format and method for an
art historian viewing a work in context. The
fact that Trachtenberg did not value the work
aesthetically, often noting that Bartholdi was

unimaginative or that he labored to revive
the classical past only to succeed in "embalm-
ing" it, provides a case in point that an art
historian need not be enamored of the work
he is studying. By taking a work from which
he is spiritually detached and obviously out of
sympathy with its aesthetic contribution, he
is able to recognize its value to the spirit of an
age. This is no small achievement. When this
intellectualization further leads to the illumi-
nation of lost traditions and personalities, as
it does with Liberty, then we have more than
a contribution to knowledge; we have
achieved, as Trachtenberg has, an integrated
art-historical work that leaves the reader
with a deeper understanding of a specific
work of art and the history of ideas which led
to its formulation.
GABRIEL P. WEISBERG
Cleveland Museum of Art
All inquiries should be addressed to the Book
Review Editor: Donald B. Kuspit, Dept. of
Art, Ackland Art Center, University of North
Carolina at Chapel Hill, North Carolina
27514. Unsolicited manuscripts will not be
considered.
books received

ADAMS, ANSEL and LAWRENCE CLARK POWELL, PHOTO-
GRAPHS OF THE SOUTHWEST, Boston, Little, Brown
(A New York Graphic Society Book), 1976. 35 pp.,
109 ills. $32.50.
AKIBA, DAVID, A BIRTH AT HOME, Brookline, Mass.,
Falcon Publishing, 1976. Unpaginated, ills. $6.95.
ALLOWAY, LAWRENCE, TOPICS IN AMERICAN ART
SINCE
1945, New York, W.W. Norton, 1975. 283 pp., 64
ills. $10.00.
AVEDON, RICHARD (with an essay by HAROLD ROSEN-
BERG), PORTRAITS, New York, Farrar, Straus, and
Giroux, 1976. Unpaginated, ills. $25.00.
BARSACQ, LEON, CALIGARI'S CABINET AND OTHER
GRAND ILLUSIONS: A HISTORY OF FILM DESIGN, Bos-
ton, Little, Brown (A New York Graphic Society
Book), 1976. 264 pp., ills. $19.95.
BARTELS, NADJA K. and JOHN G. MCKINVEN (eds.),
THE BRADFORD BOOK OF COLLECTOR'S PLATES 1976:
THE OFFICIAL GUIDE TO ALL EDITIONS TRADED ON THE
WORLD'S LARGEST EXCHANGE, New York, McGraw-
Hill, 1976. Unpaginated, ills. $9.95.
BELL, QUENTIN, ON HUMAN FINERY (2nd ed., rev. and
enlarged), New York, Schocken Books, 1976. 239

pp., ills. $14.95.
BELLONY-REWALD, ALICE, THE LOST WORLD OF THE
IMPRESSIONISTS, Boston, Little, Brown (A New
York Graphic Society Book), 1976. 288 pp., 298
ills. $32.50.
BIALOSTOCKI, JAN, THE ART OF THE RENAISSANCE IN
EASTERN EUROPE: HUNGARY- BOHEMIA-- POLAND,
THE WRIGHTSMAN LECTURES, Ithaca, N.Y., Cornell
University Press, 1976. 312 pp., 351 ills. $25.00.
ADAMS, ANSEL and LAWRENCE CLARK POWELL, PHOTO-
GRAPHS OF THE SOUTHWEST, Boston, Little, Brown
(A New York Graphic Society Book), 1976. 35 pp.,
109 ills. $32.50.
AKIBA, DAVID, A BIRTH AT HOME, Brookline, Mass.,
Falcon Publishing, 1976. Unpaginated, ills. $6.95.
ALLOWAY, LAWRENCE, TOPICS IN AMERICAN ART
SINCE
1945, New York, W.W. Norton, 1975. 283 pp., 64
ills. $10.00.
AVEDON, RICHARD (with an essay by HAROLD ROSEN-
BERG), PORTRAITS, New York, Farrar, Straus, and
Giroux, 1976. Unpaginated, ills. $25.00.
BARSACQ, LEON, CALIGARI'S CABINET AND OTHER

GRAND ILLUSIONS: A HISTORY OF FILM DESIGN, Bos-
ton, Little, Brown (A New York Graphic Society
Book), 1976. 264 pp., ills. $19.95.
BARTELS, NADJA K. and JOHN G. MCKINVEN (eds.),
THE BRADFORD BOOK OF COLLECTOR'S PLATES 1976:
THE OFFICIAL GUIDE TO ALL EDITIONS TRADED ON THE
WORLD'S LARGEST EXCHANGE, New York, McGraw-
Hill, 1976. Unpaginated, ills. $9.95.
BELL, QUENTIN, ON HUMAN FINERY (2nd ed., rev. and
enlarged), New York, Schocken Books, 1976. 239
pp., ills. $14.95.
BELLONY-REWALD, ALICE, THE LOST WORLD OF THE
IMPRESSIONISTS, Boston, Little, Brown (A New
York Graphic Society Book), 1976. 288 pp., 298
ills. $32.50.
BIALOSTOCKI, JAN, THE ART OF THE RENAISSANCE IN
EASTERN EUROPE: HUNGARY- BOHEMIA-- POLAND,
THE WRIGHTSMAN LECTURES, Ithaca, N.Y., Cornell
University Press, 1976. 312 pp., 351 ills. $25.00.
BISHOP, ROBERT and ELIZABETH SAFANDA, A GALLERY
OF AMISH QUILTS: DESIGN DIVERSITY FROM A PLAIN
PEOPLE, New York, E.P. Dutton & Co., 1976. 96
pp., 156 ills. $17.50.

VON BLUM, PAUL, THE ART OF THE SOCIAL
CONSCIENCE,
New York, Universe Books, 1976. 243 pp., ills.
$10.00.
BORD, JANET, MAZES AND LABYRINTHS OF THE
WORLD,
New York, E.P. Dutton & Co., 1976. 186 pp., 269
ills. $6.95.
BOYCE, JOHN and ANAIS NIN, APHRODISIAC: DRAWINGS
BY JOHN BOYCE FOR SELECTED PASSAGES FROM THE
WORKS OF ANAIS NIN, New York, Crown Publish-
ers, Inc., 1976. Unpaginated, 84 ills. $7.95.
BROWN, JONATHAN, MURILLO AND HIS DRAWINGS,
Princeton, N.J., The Art Museum, Princeton Uni-
versity (distributed by Princeton University
Press), 1977. 200 pp., ills. $25.00.
CARLI, ENZO, et al., MARINO MARINI: ETCHINGS 1914-
1970, Livorno and Milano, Italy, Graphis Arte and
Toninelli Arte Moderna (distributed in U.S. by
Rizzoli International Publications, N.Y.), 1976.
132 pp., 102 ills. $40.00.
CASTLEMAN, RIVA, PRINTS OF THE TWENTIETH CEN-
TURY: A HISTORY, New York, The Museum of Mod-
ern Art (distributed by Oxford University Press),
1976. 216 pp., 179 ills. $12.50 (cloth), $7.95 (paper).
COLLEDGE, MALCOLM A.R., THE ART OF PALMYRA,

Boulder, Colorado, Westview Press, 1976. 320 pp.,
216 ills. $35.00.
CORK, RICHARD, VORTICISM AND ABSTRACT ART IN
THE
FIRST MACHINE AGE, VOL. 2: SYNTHESIS AND DE-
CLINE, Berkeley and Los Angeles, University of
California Press, 1976. 269 pp., 230 ills. $65.00.
CRAWFORD, JOE (ed.), THE BLACK PHOTOGRAPHERS
AN-
NUAL, Volume 3, Brooklyn, N.Y., Black Photog-
raphers Annual, Inc., 1976. 123 pp., ills.
CUSHION, JOHN P., POTTERY AND PORCELAIN TABLE-
WARES, New York, William Morrow and Co., Inc.,
1976. 240 pp., ills. $22.50.
DESCARGUES, PIERRE, ART TREASURES OF THE HERMI-
TAGE, New York, Abrams, 1976. 168 pp., 172 ills.
$35.00.
DISTIN, WILLIAM H. and ROBERT BISHOP, THE AMERI-
CAN CLOCK: A COMPREHENSIVE PICTORIAL SURVEY
1723-1900 WITH A LISTING OF 6153 CLOCKMAKERS,
New York, E. P. Dutton, 1976. 359 pp., 784 ills.
$27.50.
DONNAN, CHRISTOPHER B. et al., ASIAN PUPPETS: WALL
OF THE WORLD, Los Angeles, UCLA Museum of

Cultural History, 1976. 152 pp., 173 ills.
DUDLEY, LEAVITT, ARCHITECTURAL ILLUSTRATION.
En-
glewood Cliffs, N.J., Prentice-Hall, 1977. 300 pp.,
ills. $25.00.
DUMUR, GUY, NICHOLAS DE STAEL, New York, Crown
Publishers, Inc., 1976. 96 pp., ills. $4.95.
DUNCAN, DAVID DOUGLAS, THE SILENT STUDIO, New
York, W. W. Norton, 1976. 110 pp., ills. $12.50.
DUREN, LISTA, FRAME IT: A COMPLETE DO-IT-
YOURSELF
GUIDE TO PICTURE FRAMING, Boston, Houghton
Mifflin Co., 1976. 216 pp., ills. $5.95.
EICHENBERG, FRITZ, THE ART OF THE PRINT: MASTER-
PIECES, HISTORY, TECHNIQUES, New York, Abrams,
1976. 611 pp., 749 ills. $35.00.
ELIOT, ALEXANDER, MYTHS, New York, McGraw-Hill,
1976. 320 pp., ills. $39.95.
ERNST, BRUNO, THE MAGIC MIRROR OF M. C. ESCHER,
New York, Random House, 1976. 112 pp., 246 ills.
$15.00.
FARMER, JOHN DAVID, ENSOR, New York, Braziller,
1976. 48 pp., 113 ills. $9.95 (paper).

FEINBLATT, EBRIA, OLD MASTER DRAWINGS FROM
AMERICAN COLLECTIONS, New York and Los Ange-
les, Los Angeles County Museum of Art in associ-
ation with Allenheld & Schram, 1976. 238 pp., 240
ills. $25.00.
FONG, WEN, RETURNING HOME: TAO-CHI'S ALBUM OF
LANDSCAPES AND FLOWERS, New York, Braziller,
1976. 91 pp., ills. $17.50.
FREEMAN, JOHN CROSBY (intro.), VILLAGE AND FARM
COTTAGES, Watkins Glen, N.Y., American Life
Foundation & Study Institute (for Library of Vic-
torian Culture), 1976. 206 pp., 100 ills. $5.00.
BISHOP, ROBERT and ELIZABETH SAFANDA, A GALLERY
OF AMISH QUILTS: DESIGN DIVERSITY FROM A PLAIN
PEOPLE, New York, E.P. Dutton & Co., 1976. 96
pp., 156 ills. $17.50.
VON BLUM, PAUL, THE ART OF THE SOCIAL
CONSCIENCE,
New York, Universe Books, 1976. 243 pp., ills.
$10.00.
BORD, JANET, MAZES AND LABYRINTHS OF THE
WORLD,
New York, E.P. Dutton & Co., 1976. 186 pp., 269
ills. $6.95.
BOYCE, JOHN and ANAIS NIN, APHRODISIAC: DRAWINGS
BY JOHN BOYCE FOR SELECTED PASSAGES FROM THE

WORKS OF ANAIS NIN, New York, Crown Publish-
ers, Inc., 1976. Unpaginated, 84 ills. $7.95.
BROWN, JONATHAN, MURILLO AND HIS DRAWINGS,
Princeton, N.J., The Art Museum, Princeton Uni-
versity (distributed by Princeton University
Press), 1977. 200 pp., ills. $25.00.
CARLI, ENZO, et al., MARINO MARINI: ETCHINGS 1914-
1970, Livorno and Milano, Italy, Graphis Arte and
Toninelli Arte Moderna (distributed in U.S. by
Rizzoli International Publications, N.Y.), 1976.
132 pp., 102 ills. $40.00.
CASTLEMAN, RIVA, PRINTS OF THE TWENTIETH CEN-
TURY: A HISTORY, New York, The Museum of Mod-
ern Art (distributed by Oxford University Press),
1976. 216 pp., 179 ills. $12.50 (cloth), $7.95 (paper).
COLLEDGE, MALCOLM A.R., THE ART OF PALMYRA,
Boulder, Colorado, Westview Press, 1976. 320 pp.,
216 ills. $35.00.
CORK, RICHARD, VORTICISM AND ABSTRACT ART IN
THE
FIRST MACHINE AGE, VOL. 2: SYNTHESIS AND DE-
CLINE, Berkeley and Los Angeles, University of
California Press, 1976. 269 pp., 230 ills. $65.00.
CRAWFORD, JOE (ed.), THE BLACK PHOTOGRAPHERS

AN-
NUAL, Volume 3, Brooklyn, N.Y., Black Photog-
raphers Annual, Inc., 1976. 123 pp., ills.
CUSHION, JOHN P., POTTERY AND PORCELAIN TABLE-
WARES, New York, William Morrow and Co., Inc.,
1976. 240 pp., ills. $22.50.
DESCARGUES, PIERRE, ART TREASURES OF THE HERMI-
TAGE, New York, Abrams, 1976. 168 pp., 172 ills.
$35.00.
DISTIN, WILLIAM H. and ROBERT BISHOP, THE AMERI-
CAN CLOCK: A COMPREHENSIVE PICTORIAL SURVEY
1723-1900 WITH A LISTING OF 6153 CLOCKMAKERS,
New York, E. P. Dutton, 1976. 359 pp., 784 ills.
$27.50.
DONNAN, CHRISTOPHER B. et al., ASIAN PUPPETS: WALL
OF THE WORLD, Los Angeles, UCLA Museum of
Cultural History, 1976. 152 pp., 173 ills.
DUDLEY, LEAVITT, ARCHITECTURAL ILLUSTRATION.
En-
glewood Cliffs, N.J., Prentice-Hall, 1977. 300 pp.,
ills. $25.00.
DUMUR, GUY, NICHOLAS DE STAEL, New York, Crown
Publishers, Inc., 1976. 96 pp., ills. $4.95.
DUNCAN, DAVID DOUGLAS, THE SILENT STUDIO, New

York, W. W. Norton, 1976. 110 pp., ills. $12.50.
DUREN, LISTA, FRAME IT: A COMPLETE DO-IT-
YOURSELF
GUIDE TO PICTURE FRAMING, Boston, Houghton
Mifflin Co., 1976. 216 pp., ills. $5.95.
EICHENBERG, FRITZ, THE ART OF THE PRINT: MASTER-
PIECES, HISTORY, TECHNIQUES, New York, Abrams,
1976. 611 pp., 749 ills. $35.00.
ELIOT, ALEXANDER, MYTHS, New York, McGraw-Hill,
1976. 320 pp., ills. $39.95.
ERNST, BRUNO, THE MAGIC MIRROR OF M. C. ESCHER,
New York, Random House, 1976. 112 pp., 246 ills.
$15.00.
FARMER, JOHN DAVID, ENSOR, New York, Braziller,
1976. 48 pp., 113 ills. $9.95 (paper).
FEINBLATT, EBRIA, OLD MASTER DRAWINGS FROM
AMERICAN COLLECTIONS, New York and Los Ange-
les, Los Angeles County Museum of Art in associ-
ation with Allenheld & Schram, 1976. 238 pp., 240
ills. $25.00.
FONG, WEN, RETURNING HOME: TAO-CHI'S ALBUM OF
LANDSCAPES AND FLOWERS, New York, Braziller,
1976. 91 pp., ills. $17.50.

FREEMAN, JOHN CROSBY (intro.), VILLAGE AND FARM
COTTAGES, Watkins Glen, N.Y., American Life
Foundation & Study Institute (for Library of Vic-
torian Culture), 1976. 206 pp., 100 ills. $5.00.
FREEMAN, MARGARET B., THE UNICORN TAPESTRIES,
New York, The Metropolitan Museum of Art (dis-
tributed by E.P. Dutton), 1976. 244 pp., 305 ills.
$45.00.
DE FREITAS, LEO, CHARLES ROBINSON, London and
New York, Academy Editions and St. Martin's
Press, 1976. 88 pp., ills. $7.95.
GABOR, MARK, ART OF THE CALENDAR, New York,
Harmony Books (a division of Crown Publishers),
1976. 128 pp., 130 ills. $15.00.
GALLWITZ, KLAUS, BOTERO, New York, Rizzoli, 1976.
88 pp., 56 ills. $7.95.
GLIMCHER, ARNOLD B., LOUISE NEVELSON (2nd ed.),
New York, E.P. Dutton, 1976. 209 pp., 103 ills.
$11.95.
GOLDSTONE, HARMON H. and MARTHA DALRYMPLE,
HISTORY PRESERVED: A GUIDE TO NEW YORK CITY
LANDMARKS AND HISTORIC DISTRICTS, New York,
Schocken Books, 1976. 576 pp., 350+ ills. $8.95.
GOMBRICH, E. H., THE HERITAGE OF APELLES: STUDIES
IN THE ART OF THE RENAISSANCE, Ithaca, N.Y.,
Cornell University Press, 1976. 250 pp., 239 ills.

$22.50.
GOULD, CECIL, THE PAINTINGS OF CORREGGIO, Ithaca,
N.Y., Cornell University Press, 1976. 307 pp.,
212+ ills. $85.00.
HARVEY, MICHAEL, LETTERING DESIGN: FORM AND
SKILL IN THE DESIGN & USE OF LETTERS, Barre,
Mass., Barre Publishing (distributed by Crown
Publishers), 1975. 160 pp., 197 ills. $10.95.
HERSEY, G. L., PYTHAGOREAN PALACES: MAGIC AND
ARCHITECTURE IN THE ITALIAN RENAISSANCE,
Ithaca, N.Y. and London, Cornell University
Press, 1976. 218 pp., ills.
HESS, THOMAS B. (intro.), AARON SISKIND: PHOTO-
GRAPHS, New York, Light Gallery and Farrar,
Straus and Giroux, 1976. 112 pp., ills. $25.00.
HIGHWATER, JAMAKE, SONG FROM THE EARTH: AMERI-
CAN INDIAN PAINTING, Boston, Little, Brown (a
New York Graphic Society Book), 1976. 212 pp.,
162 ills. $19.95.
HOFMANN, WERNER, HUNDERTWASSER, New York,
Rizzoli, 1976. 30 pp., 48 ills. $6.50.
HUBALA, ERICH, BAROQUE AND ROCOCO ART, New
York, Universe Books, 1976. 196 pp., 187 ills.
$7.95.

ISHAM, NORMAN MORRISON and HENRY C. MERCER, A
GLOSSARY OF COLONIAL ARCHITECTURAL TERMS
WITH A BIBLIOGRAPHY OF BOOKS, 1880-1930: THE
DATING OF OLD HOUSES, Watkins Glen, N.Y.,
American Life Foundation & Study Institute,
1976. Unpaginated, ills. $3.00.
JACKSON, ANNE, ART AT AUCTION: THE YEAR AT SOTH-
EBY PARKE-BERNET: 1975-76: TWO HUNDRED AND
FORTY-SECOND SEASON, New York, Rizzoli Interna-
tional and Sotheby Parke-Bernet, 1976. 480 pp.,
850 ills. $28.50.
JACOB, MIRA, PAUL DELVAUX: GRAPHIC WORK, New
York, Rizzoli, 1976. 163 pp., 97 ills. $66.00.
JOHNSGARD, PAUL A. (ed.), THE BIRD DECOY: AN AMER-
ICAN ART FORM, Lincoln, Nebraska, University of
Nebraska Press, 1976. 191 pp., 207 ills. $17.95.
JOHNSTON, F. C., SKETCHING & PAINTING: A STEP BY
STEP INTRODUCTION, New York, St. Martin's Press,
1976. 157 pp., 78 ills. $7.95.
JONES, ARTHUR F., THE ART OF PAUL SAWYIER, Lex-
ington, Ky., The University Press of Kentucky,
1976. 121 pp., 130 ills. $27.50.
JOYES, CLAIRE et al., MONET AT GIVERNY, London and
New York, Matthews Miller Dunbar and Two

Continents Publishing Group, 1975. 144 pp., ills.
$16.95.
KAHAN, GERALD, JACQUES CALLOT: ARTIST OF THE
THEATER, Athens, Ga., The University of Georgia
Press, 1976. 118 pp., 92 ills. $15.00.
KARSH, YOUSUF, KARSH PORTRAITS, Boston, Little,
Brown (a New York Graphic Society Book), 1976.
202 pp., 48 ills. $24.95.
KIDDER SMITH, G. E. (Marshall B. Davidson, ed.), A
PICTORIAL HISTORY OF ARCHITECTURE IN AMERICA (2
vols.), New York, American Heritage Publishing
Co., 1976. 832 pp., ills. $45.00.
FREEMAN, MARGARET B., THE UNICORN TAPESTRIES,
New York, The Metropolitan Museum of Art (dis-
tributed by E.P. Dutton), 1976. 244 pp., 305 ills.
$45.00.
DE FREITAS, LEO, CHARLES ROBINSON, London and
New York, Academy Editions and St. Martin's
Press, 1976. 88 pp., ills. $7.95.
GABOR, MARK, ART OF THE CALENDAR, New York,
Harmony Books (a division of Crown Publishers),
1976. 128 pp., 130 ills. $15.00.
GALLWITZ, KLAUS, BOTERO, New York, Rizzoli, 1976.
88 pp., 56 ills. $7.95.
GLIMCHER, ARNOLD B., LOUISE NEVELSON (2nd ed.),
New York, E.P. Dutton, 1976. 209 pp., 103 ills.

$11.95.
GOLDSTONE, HARMON H. and MARTHA DALRYMPLE,
HISTORY PRESERVED: A GUIDE TO NEW YORK CITY
LANDMARKS AND HISTORIC DISTRICTS, New York,
Schocken Books, 1976. 576 pp., 350+ ills. $8.95.
GOMBRICH, E. H., THE HERITAGE OF APELLES: STUDIES
IN THE ART OF THE RENAISSANCE, Ithaca, N.Y.,
Cornell University Press, 1976. 250 pp., 239 ills.
$22.50.
GOULD, CECIL, THE PAINTINGS OF CORREGGIO, Ithaca,
N.Y., Cornell University Press, 1976. 307 pp.,
212+ ills. $85.00.
HARVEY, MICHAEL, LETTERING DESIGN: FORM AND
SKILL IN THE DESIGN & USE OF LETTERS, Barre,
Mass., Barre Publishing (distributed by Crown
Publishers), 1975. 160 pp., 197 ills. $10.95.
HERSEY, G. L., PYTHAGOREAN PALACES: MAGIC AND
ARCHITECTURE IN THE ITALIAN RENAISSANCE,
Ithaca, N.Y. and London, Cornell University
Press, 1976. 218 pp., ills.
HESS, THOMAS B. (intro.), AARON SISKIND: PHOTO-
GRAPHS, New York, Light Gallery and Farrar,
Straus and Giroux, 1976. 112 pp., ills. $25.00.
HIGHWATER, JAMAKE, SONG FROM THE EARTH: AMERI-

CAN INDIAN PAINTING, Boston, Little, Brown (a
New York Graphic Society Book), 1976. 212 pp.,
162 ills. $19.95.
HOFMANN, WERNER, HUNDERTWASSER, New York,
Rizzoli, 1976. 30 pp., 48 ills. $6.50.
HUBALA, ERICH, BAROQUE AND ROCOCO ART, New
York, Universe Books, 1976. 196 pp., 187 ills.
$7.95.
ISHAM, NORMAN MORRISON and HENRY C. MERCER, A
GLOSSARY OF COLONIAL ARCHITECTURAL TERMS
WITH A BIBLIOGRAPHY OF BOOKS, 1880-1930: THE
DATING OF OLD HOUSES, Watkins Glen, N.Y.,
American Life Foundation & Study Institute,
1976. Unpaginated, ills. $3.00.
JACKSON, ANNE, ART AT AUCTION: THE YEAR AT SOTH-
EBY PARKE-BERNET: 1975-76: TWO HUNDRED AND
FORTY-SECOND SEASON, New York, Rizzoli Interna-
tional and Sotheby Parke-Bernet, 1976. 480 pp.,
850 ills. $28.50.
JACOB, MIRA, PAUL DELVAUX: GRAPHIC WORK, New
York, Rizzoli, 1976. 163 pp., 97 ills. $66.00.
JOHNSGARD, PAUL A. (ed.), THE BIRD DECOY: AN AMER-
ICAN ART FORM, Lincoln, Nebraska, University of
Nebraska Press, 1976. 191 pp., 207 ills. $17.95.

JOHNSTON, F. C., SKETCHING & PAINTING: A STEP BY
STEP INTRODUCTION, New York, St. Martin's Press,
1976. 157 pp., 78 ills. $7.95.
JONES, ARTHUR F., THE ART OF PAUL SAWYIER, Lex-
ington, Ky., The University Press of Kentucky,
1976. 121 pp., 130 ills. $27.50.
JOYES, CLAIRE et al., MONET AT GIVERNY, London and
New York, Matthews Miller Dunbar and Two
Continents Publishing Group, 1975. 144 pp., ills.
$16.95.
KAHAN, GERALD, JACQUES CALLOT: ARTIST OF THE
THEATER, Athens, Ga., The University of Georgia
Press, 1976. 118 pp., 92 ills. $15.00.
KARSH, YOUSUF, KARSH PORTRAITS, Boston, Little,
Brown (a New York Graphic Society Book), 1976.
202 pp., 48 ills. $24.95.
KIDDER SMITH, G. E. (Marshall B. Davidson, ed.), A
PICTORIAL HISTORY OF ARCHITECTURE IN AMERICA (2
vols.), New York, American Heritage Publishing
Co., 1976. 832 pp., ills. $45.00.
ART JOURNAL, XXXVI/3 ART JOURNAL, XXXVI/3 276 276
2015 22:25:33 UTC

http://www.jstor.org/page/info/about/policies/terms.jspArticle
Contentsp.272p.274p.276Issue Table of ContentsArt Journal,
Vol. 36, No. 3, Spring, 1977Front Matter [pp.265-285]Richard
Diebenkorn: The Early Years [pp.206-220]The Infra-
Iconography of Jasper Johns [pp.221-227]What Is a Subject?
(Some Notes on the Paintings and Milieu of Robert
Goodnough.) [pp.228-232]Send Letters, Postcards, Drawings,
and Objects... [pp.233-241]Anthony M. Clark: In Memoriam
[pp.242-243]NewsCollege Museum News [pp.244-
245]Exhibitions [pp.245-247]Catalogues [pp.247-
249]Acquisitions [pp.249-256]Information [p.256]Public
Museum News [pp.256-261]Books in Reviewuntitled [pp.261-
262]untitled [pp.262-263]untitled [pp.263-264]untitled [pp.264-
266]untitled [pp.266-268]untitled [pp.268-270]untitled [pp.270-
272]untitled [pp.272-276]Books Received [pp.276-
278]Dissertations Listing [pp.278-286]Back Matter
IN THE
SHADOW
OF LIBERTY
JOHN ARNOLD | WALLENBERG STUDIO
CRITIC: FARZIN LOTFI-JAM
28
W
A
LL

E
N
B
E
R
G
The Statue of Liberty was born into motion.
It spent its formative years in constant
assembly and disassembly and traveled
halfway across the world before reaching
its home on Liberty Island. The Statue’s
journey across the Atlantic was mirrored by
tens of thousands of immigrants traveling to
the United States during the late 19th and
early 20th centuries. For these immigrants,
the Statue represented freedom from plight,
tyranny, want, and the promise of a better
life. Immigration, as it existed during
this crucial point in American history,
has ceased.
THE ICEBERG
The Statue of Liberty was inscribed to the
UNESCO World Heritage List in 1983
under Criteria I—to represent a masterpiece
of human creative genius, and VI—to be
directly or tangibly associated with events
of outstanding universal significance. In this
case, it was the populating of the United
States during the turn of the century. If

the Statue of Liberty was the symbolic
gateway to the United States, as posited
by UNESCO, Ellis Island was the literal
threshold. One was the disseminated,
idealized image; one was the operational
reality. Liberty Island and Ellis Island have
always been inextricably linked. They are
just as closely connected physically, and
bathymetrically, the islands are nearly one.
29
IN
T
H
E
S
H
A
D
O
W
O
F
LI
B
E

R
T
Y
LIBERTY ISLAND
New technologies have haulted
immigration through New York Harbor,
and the Statue’s role as a welcoming
beacon and symbol of opportunity has
effectively ceased. In its current state, the
Statue of Liberty and Liberty Island are at
risk of losing their “value” as determined
by UNESCO. Rather than representing
an era of immigration and the promise
of opportunity, is left for tourism
to consume. Hoards of tourists snap
photographs of the Statue from privileged
views, spawning additional reproductions
of an already exhausted cultural image.
ELLIS ISLAND
Juxtaposed with Liberty Island, Ellis Island
has suffered an even further exhaustion
of cultural value. Originally designed to
process immigrants at an unmatched scale,
Ellis Island was a complex and beautiful
machine. The historic features that
remain on the island recount this story.
Immigration via transatlantic liner has all
but ceased. In its current state, Ellis Island is
now a place of real estate speculation. Plans
for development on the Island range from
residential communities to office spaces.
Regardless of the intent, most development
plans ensure the destruction of the Island’s

many historic features.
30
W
A
LL
E
N
B
E
R
G
R
ui
n
H
er
al
d
of
th
e
En

d
of
T
im
es
Pr
ot
es
t
A
n
Em
bl
em
o
f
Ir
on
y
LIBERTY IN THE PUBLIC EYE
As a cultural object and a disseminated
image, the State of Liberty is completely
exhausted. The Statue exists more vividly
in our minds as a reproduced image than
as a physical object. Images of the Statue

can be sorted into a number of categories
that convey contemporary values contained
within the Statue as image.
STRUCTURAL AND
SCULPTURAL ANALYSIS
Although perceived as a sculptural form,
the Statue of Liberty is comprised of a
complex steel structure and a thin (3/32 in.)
panelized copper shell. Based on the images
cataloged, it is possible to identify areas of
the Statue that most frequently appear in
each category. By mapping these areas onto
the Statue from most to least frequently
appearing, we can determine the panels that
most significantly contribute to a particular
image or symbol.
R
ea
pp
ro
pr
ia
ti
on
A
C
ul
tu

ra
l C
lic
hé
Lu
xu
ry
A
S
ym
bo
l o
f
Pr
os
pe
ri
ty
N
ov
el
ty
A
C

on
su
m
ed
I
m
ag
e
T
he
S
ta
te
A
n
Ic
on
o
f
A
m
er
ic

a
31
IN
T
H
E
S
H
A
D
O
W
O
F
LI
B
E
R
T
Y
32

W
A
LL
E
N
B
E
R
G
Existing Panel Logic Modified Panel
350 PANELS
Understanding the Statue as a complex
assembly of components, it is possible to
break down the massive structure into such
parts. Each component consists of one
copper panel, a localized portion of the
central steel structure, and the steel members
connecting the two. Reducing the Statue
to a collection of similarly functioning
pieces provides a system through which
the Statue can be assembled, disassembled,
and reassembled. Replacing the static steel
connecting member with a hydraulic piston
system mounted on a mechanized ball joint
lends the panels full radial motion, as well as
the ability to extend and retract.

33
IN
T
H
E
S
H
A
D
O
W
O
F
LI
B
E
R
T
Y
HER: THE IMAGE EXPLODED
Using the modified panel component, the
Statue of Liberty continually re-forms. The
constantly reassembling system allows one
to perceive the Statue at varying degrees of
disassembly. The Statue in motion is meant
to posit several questions—how much can

the system reassemble before the Statue
of Liberty is no longer legible? Do certain
transformations privilege particular symbols
or images?
34
W
A
LL
E
N
B
E
R
G
How much can the system
reassemble before the Statue of
Liberty is no longer legible?
35
IN
T
H
E

S
H
A
D
O
W
O
F
LI
B
E
R
T
Y
Acknowledgments: Taylor VanEtten, Madelyn Willey, Phil
Gavrilovski, and Sarah Zamler for helping prepare the final
Wallenberg presentation; Farzin Lotfi-Jam for his extensive
assistance.
THEM: TWO ISLANDS IN ORBIT
To reconcile the increasingly divergent
trajectories of the two islands, they are
unified under an elastic membrane and
placed in orbit around one another. Both
islands are severed from the seabed and
set within barges equipped with engines
on all sides, allowing for a full range
of translational motion. Next, a tensile

membrane covers the newly formed Statue
and the existing structures on Ellis Island.
As these islands move toward future
destinations, this membrane ensures that
the islands remain physically connected.
Moreover, the sporadic motion, caused by
the elastic force of the membrane when the
two islands drift apart, creates a malleable
interstitial space between the sites.
US: SEEKING NEW SITES
Given that immigration via New York’s
waterways has all but ceased entirely, the
Statue’s current context serves only tourists
aboard ferries. Floating of the two islands
allows the Statue to seek new sites in need
of new opportunity. Removing the Statue
from New York Harbor immediately
terminates the process of touristic
consumption, as its current context is
an integral part of the contemporary
tourist’s experience. Finally, severing the
Statue and Ellis Island from their historic
context ensures a re-imagining of their
symbolic value. n
Copyright of Dimensions is the property of A. Alfred Taubman
College of Architecture +
Urban Planning and its content may not be copied or emailed to
multiple sites or posted to a
listserv without the copyright holder's express written
permission. However, users may print,

download, or email articles for individual use.
RESEARCHING A PAPER IN ART HISTORY: METHODS
AND SOURCES
l. General advice: Look for books and exhibition catalogues on
artists and styles and special topics. Begin with more recently
published material, since this has the most up-to-date
information and theories. However, be aware that sometimes
the most comprehensive study may have been published some
years back; read it along with more recent work. Also, books,
catalogues and journal articles published during the historical
period you may be researching are useful as “primary” source
material. They tell us how artists, critics and others of the
period felt and can be cited to support arguments you are
making in your paper.
2. IMPORTANT FIRST STEPS: Go Online to the Library
Homepage to check the catalogue of the Library book holdings
on your subject. Following this search, use the library
homepage to get to Book holdings on your subject. Following
this search, use the library homepage to get to OhioLINK’S
central catalogue to do a wider search for sources on your topic.
You’ll turn up additional holdings in many libraries and can
place an order online for each one (expect about a 3-day turn-
around to receive OhioLINK items).
Be sure to look up journal articles; they often have more
specialized and more recent information than books. Find them
by going to the Homepage and clicking on “articles” or on
“Databases” to get to Art Full Text. Art Full Text not only
indexes journal articles but also lists reproductions of art works
in journals. Its entries give brief descriptions of an article’s
contents (when you click on the title) and identify libraries
having the journal. The Roesch Library can provide most of

these art journals. Some art journals are available online
through the Roesch JSTOR database.
“Databases” will also get you to WorldCat, where you can
search worldwide for sources (books, catalogues, dissertations,
etc.) on your topic and uncover many items not available
through the OhioLINK system. Library reference staff are glad
to help if you have difficulty doing computer searches and can
direct you to various means of researching your topic.
Even though books on the library reserve shelf for your class
(Roesch) can only be borrowed for restricted lengths of time,
these are often some of the best sources; be sure to look them
over. Also, don’t forget to check for information in assigned
course text.
3.
If books you need are not owned by any OhioLINK library
(these may include items listed on WorldCat), and local
resources don’t have the journals needed for articles, they can
be ordered through Roesch Interlibrary Loan Department,
located behind the circulation desk in the Library. Order books
(and articles unavailable locally) early; ILL orders may take
weeks to arrive, especially if more than one library has to be
approached to lend.
4. Important: General reference tools like art dictionaries and
encyclopedias are useful only in beginning research and should
never be used in place of books and articles. (remember, too,
that bibliographies in these reference books are pared down—
and sometimes out-of-date). If you do consult dictionaries,
encyclopedias and basic art history surveys (e.g., Hartt, Janson,
Stockstad or Gardner) and art appreciation texts (e.g.
Zelanski/Fisher, Gilbert), do not cite them in the paper or

include them in the paper’s bibliography.
5. Using texts on the Internet-an important caution: In the area
of art history (unlike some other fields), there are many
questionable Internet sources-probably because of the great
popular interest in art. You will find discussions that are
superficial, contain inaccurate information, and do not cite
sources. Art books and articles published in the standard way
are more dependable, because they must go through a rigorous
review process. Consult with me about any Internet sources you
plan to use. I do not expect Internet sources to make up a
substantial part of your bibliography. An exception would be in
locating information on emerging contemporary artists about
whom little has been written, but, even here, first check in
OhioLINK, WorldCat and Art Abstracts for published texts and
articles.
6. For further research on related art topics (primarily non-
contemporary): copies of artists’ letters, scrapbooks, etc. on
microfilm can be ordered from the Archives of American Art
(art of the Smithsonian) through Roesch Interlibrary Loan
Office. For Up-to-date holdings, go to the Archives’ online
catalogue: http://www.siris.si.edu (click on search for Archives
and Manuscripts). You will learn whether there are papers for
an artist and the type of materials on individual microfilm reels,
including their identifying numbers, so that you can order them
through ILL.

8 text, typed, double-spaced pages
(with Figures/Bibliography Appended)
The topic of the paper is: The Statue of liberty
All papers will include a Works Consulted (Bibliography) page
and cite sources
(including page numbers) within the paper. Art history majors
are expected to use a standard format (MLA, Chicago,
Turabian) for bibliography entries and source citations. For
other students, using one of the three formats mentioned above
is optional, but students
do need to provide full publication information and treat their
references to sources consistently.
Illustrations: In body of text indicated as (Fig. #).
Xeroxed images should be gathered at end of the paper,
numbered consecutively. You may include a list of illustrations
after your bibliography or at the very end of the paper.
Information should include: Artist, Title of the work, Location,
[date, if known].

Paper topic instructions: Here are some broad possibilities, but
please do not feel
limited to them. Choose any aspect of twentieth century art that
interests you.
l. A single artist’s body of work, or one aspect, such as period,
theme of her/his work. For example, Cindy Sherman’s film
stills or Louise Bourgeois’ late “Cell” works. (This is what you
are writing about)
2. A specific work, book, exhibition, etc., its context and, if
appropriate, the issues it raises. For example, Marcia Tucker’s
Bad Girls or Glessing’s Rrose is a Rrose is a Rrose: Gender
Performance in Photography.
3. Compare and contrast two artists’ treatment of the same
theme. For example,
how Dorothea Lange and Walker Evans treat social landscape,
or how Lorna Simpson
and Robert Mapplethorpe, the theme of identity.
4. Apply any theoretical approach – Marxism, feminism,
structuralism, etc. –to a group of works. For example, a
feminist analysis of how the body is constructed in
fashion photographs or how Lorna Simpson’s photographs
deconstruct photographic truth.
Formulating a topic involves not merely choosing content, but
developing point of view.
l. Focus on the images. Devote at least 50% of your paper to
discussing the selected works and their meaning.

2. Contextualize the images. Situate your topic in a historical
or biographical context, or
in a theoretical framework.
3. Thesis format. State a thesis in your introduction and pull
your discussion together in
a conclusion.
4. Sources: Make certain there are enough resources available
on your topic before you
commit to it. Strive to find primary sources, including original
prints, correspondence, writing from the period. You must
include 6 peer reviewed scholarly journals and at least TWO
print sources (annotated and quoted within the main body of
your text).
5. Include images as specified in this handout.
6. Please put your citations at the end of the paper in
Bibliography with parenthetical citations in the text.
Do not hesitate to consult with me at any point while
researching, organizing or writing
your paper.

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