Today's Hours
Museum: 10:00 AM - 5:00 PM
Gardens: 7:00 AM - 5:30 PM
Today's Hours
Museum: 10:00 AM - 5:00 PM
Gardens: 7:00 AM - 5:30 PM
Garden Sculptures
Monet in his Garden
Gary Price
Having graduated in 1981 from the University of Utah in painting and drawing, Gary Price has always had a great admiration and affinity to painters and has always been moved by Monet's works. Being a pretty serious gardener himself, it was only a matter of time before he made the trek to Giverny, France - home of Monet's water lily pond, home, garden and studio. After his visit and having done plein-air painting, he knew he had to capture the "Father of Impressionism" and include him in his "Great Contributors" series. "Monet in his Garden" is currently on display outside the South Wing Glass Courtyard.
Destiny of the Red Man
A.A. Weinman
Based on a model A.A. Weinman created for the Louisiana Purchase Exposition in 1903, the sculpture, finally cast in bronze in 1945, measures 55” high by 56” long and weighs about 1,400 pounds. It is unique as it is the only casting ever made from the sculptor’s original plaster model, which has now been destroyed. When first completed, it was exhibited on loan at the Corcoran Gallery of Art in Washington, D.C., the National Collection of Fine Arts at the Smithsonian, and the Remington Art Memorial in Ogdensburg, New York. After Mr. Norton donated it to the R.W. Norton Art Foundation in 1961, it was placed in storage at the Gallery where it remained until 2005 when it was installed at its present vantage point on a hillside in our gardens.
Wild Boar Fountain Piece
Giuseppe Benelli
This piece is actually a version of a very famous piece known as the “Florentine Boar” which was a later version of a Greek/Hellenistic marble sculpture. The original marble sculpture has been lost or destroyed, but in the 17th century, a copy was placed in the Uffizi Gallery in Florence. More popularly, a sculptor named Pietro Tacca made a bronze casting in 1612, changing the base by adding a pool surrounded by plants, snakes, frogs, and turtles. That piece sits in the Marketo Nuovo and has become one of the symbolic sights of Florence. It was local Florentines who gave it the affectionate name “Il Porcellino”. So many thousands of visitors have rubbed his nose for luck that the patina has been completely destroyed; as a result, recently, the statue was replaced by an identical copy while the original has been put away for its preservation. We believe our statue was modeled by G. Benelli in 1856 and then cast by Clemente Papi in 1857.
Brown Pelican
Sandy Scott
Sandy Scott trained at the Kansas City Art Institute. She obtained a pilot’s license in 1965, but the airlines of the time claimed she was too short to be hired as a pilot; consequently, after a short stint as an airline stewardess, she returned to her roots in art and began working with wildlife depiction. She started out with drawing and etching, but after being inspired by a 1981 trip to China, determined to take up sculpture. Scott has received awards from the National Academy of Design, The American Artist’s Professional League, the National Academy of Western Art and a number of others. We are pleased to have not only this magnificent sculpture of the Louisiana state bird by her, but also the piece titled “Eat More Beef”, which we affectionately call Wilbur after the pig in Charlotte’s Web. You can find Wilbur in our Fairy Tale Gallery inside.
Ring of Bright Water (Otters)
Kent Ullberg
Kent Ullberg states in a 1985 article from Southwest Art: An artist needs to reflect his environment and the concerns of his time...Artistic images from nature, for instance, in this day of ecology and concern about the environment are very much a statement of our time and could also make an artistic statement to generations to come. He believes that sculpting in a realistic style makes his work accessible to everyone and communicates a universal language of art when using public space for [his] work. The darling sea otters he has sculpted in Ring of Bright Water not only exude the hallmark playfulness of these clowns of the sea, but also calls attention to these endangered animals plight.
Waiting for Sockeye (Grizzly Bear)
Kent Ullberg
While Ullberg has done hundreds of works on a small scale, he is perhaps best known for his monumental works he has done for museums and municipalities from Omaha, Nebraska to Cape Town, South Africa. His Fort Lauderdale, Florida and Omaha, Nebraska installations are the largest wildlife bronze compositions ever done, spanning several city blocks.
Canyon Watch (Puma)
Kent Ullberg
A native of Sweden, Ullberg is widely recognized as one of the world’s leading wildlife sculptors. In 1990, he became the first wildlife artist since John James Audubon to be elected to the National Academy, one of the greatest tributes in American Art. Ullberg’s sculptures can be found in museums and corporate headquarters around the world, including the National Museum of Natural History in Stockholm, Sweden; the National Gallery in Botswana, Africa; the National Geographic Society, Washington, D.C.; Exhibition Hall, Beijing, China; and the Guildhall in London, England. He is also a major supporter of many wildlife conservation efforts. Ullberg maintains studies in Loveland, Colorado and Corpus Christi, Texas.
Mountain Silverback (Gorilla)
Bart Walter
Bart Walter primarily sculpts his subjects from life. He prefers to sculpt his subjects in the wild, but also refers to captive subjects when needed. Bart sketches his subject in either charcoal or pencil, rendering different views and prominent characteristics. After becoming familiar with the forms in two dimensions, he chooses a composition and sculpts a maquette (small model) in either clay or wax.
In a statement from his website, Walter sums up his artistic philosophy: "My art evolves from a passion for all living things. I strive to capture the essence of a living being; to explore some kernel of truth that may have gone unnoticed and to depict an otherwise elusive moment in time. In my mind's eye, I strip away all that is unnecessary, even as I build the sculpture with layer upon layer of clay. My goal is a distillation of the subject until only true essentials are left. If in so doing I can reveal some intangible spirit, make evident the soul of my subject, and communicate this in my art; then I have accomplished something real."