Walters has Two Art in Plain Sight Postings
In the past two months, Bruce Walters has published articles about the the Palmer Busts at the Palmer College of Chiropractic and the Freedom sculpture on the campus of Augustana College.
From the February 9 Art in Plain Sight:
In the Heritage Court on the Palmer College of Chiropractic campus (at 1000 Brady Street in Davenport) are four large bronze busts. Sculptures of D.D. Palmer, his son B.J. Palmer, and his grandson David Palmer are placed symmetrically on a curved brick and stone wall with the incised words “The Foundation of Chiropractic.” These men collectively presided over the Palmer College of Chiropractic for its first 81 years, beginning with its founding in 1897.
Slightly to the north is a bust of Mabel Heath Palmer, who is recognized as the “First Lady of Chiropractic” and was B.J.’s wife and David’s mother.
Created by three different artists over a period of nearly 70 years, the sculptures are stylistically distinct. They are unified, however, by their consistency in height. Each bust is approximately five feet tall. Positioned on the two walls, they each reach a total height of about 12 feet. They also work together because of the consistent use of materials and conformity to a sculptural form from antiquity – the bust. During the Roman Empire, important families celebrated their achievements and honored their deceased relatives by displaying these sculpted portraits prominently and publicly.
On March 7, Walters wrote about the Freedom sculpture at Augustana College for Art in Plain Sight.
Karoly Veress’ sculpture Freedom is paradoxical: Its wing-like forms are ascending and graceful from some vantage points, yet they look like ax blades from others. Delving into the lives of the artist and the humanitarian who inspired this work, though, we can begin to understand that these elements aren’t as contradictory as they first seem.
Dedicated in 2000, Freedom is located on the Augustana College campus, near the Denkmann Memorial Building at 3520 Seventh Avenue in Rock Island. Cast in bronze from a plaster model, it rises from a cylindrical concrete base to an overall height of about 10 feet.
The dynamic upper portion of the sculpture unfurls boldly into two fluid forms – giving the work its sense of motion. Veress explained: “In this design I symbolize freedom in wings, partly protecting, and sheltering, but foremost enabling us to rise above the daily confusions. These wings sometimes lift us up out of the monstrous historic context into a state where all that remains is just one commitment: to human values, to the dignity of all human beings.”
Veress’ words stem, in part, from his own experiences. The artist was a student at the University of Budapest while the city was still in postwar ruins and under Soviet occupation. When the 1956 Hungarian Revolution failed, he fled to safety in the Netherlands, where he would discover his love for sculpting.