Public Monuments
- 1906-11 Benjamin Franklin sculpture, Benjamin Franklin National Memorial, Franklin Institute, Philadelphia (Memorial dedicated 1938)
- 1908 Recumbent figure of Bishop Potter, Cathedral of Saint John the Divine, New York, Manhattan
- 1911 Frederick Keep Monument, Rock Creek Cemetery, Washington, D.C.
- 1916 John Hay Memorial, Lake View Cemetery, Cleveland
- 1920 Canadian Officer, Bank of Montreal, Winnipeg, Manitoba
- 1920 Symbolic figures, Elks National Veterans Memorial, Chicago
- 1923 Alexander Hamilton, Treasury Building, Washington, D.C.
- 1926 John Ericsson National Memorial, East Potomac Park, Washington, D.C.
- 1926 Thomas Jefferson, Meriwether Lewis, and William Clark, Missouri State Capitol, Jefferson City, Missouri
- 1930 Abraham Lincoln Memorial (Jersey City, New Jersey, and Syracuse, New York, 1930)
- 1936 Second Division Memorial, The Ellipse, Washington, D.C.
- 1940 Equestrian Statue of Theodore Roosevelt, American Museum of Natural History, Central Park West, Manhattan, New York
- 1947 Albert Gallatin, Treasury Building, Washington, D.C.
- 1948 Benjamin Franklin Statue, Franklin Insurance Company, Springfield, Illinois
- 1949 Thomas A. Edison Statue, Greenfield Village, Dearborn, Michigan
- 1951 General George S. Patton, Jr., United States Military Academy, West Point, New York, and Hatch Shell, Boston
- 1951 Music & Harvest, Arts of Peace, Washington, D.C.
- 1951 Aspiration & Literature, Arts of Peace, Washington, D.C.
Read more about this topic: James Earle Fraser (sculptor)
Famous quotes containing the words public and/or monuments:
“What arouses the indignation of the honest satirist is not, unless the man is a prig, the fact that people in positions of power or influence behave idiotically, or even that they behave wickedly. It is that they conspire successfully to impose upon the public a picture of themselves as so very sagacious, honest and well-intentioned.”
—Claud Cockburn (1904–1981)
“If the Revolution has the right to destroy bridges and art monuments whenever necessary, it will stop still less from laying its hand on any tendency in art which, no matter how great its achievement in form, threatens to disintegrate the revolutionary environment or to arouse the internal forces of the Revolution, that is, the proletariat, the peasantry and the intelligentsia, to a hostile opposition to one another. Our standard is, clearly, political, imperative and intolerant.”
—Leon Trotsky (1879–1940)