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The Muse: William H. Sherwood (1854 - 1911) 
Image by A.Davey The Subject: William H. Sherwood This is a bust of William H. Sherwood (1854 - 1911), well known in his day as a pianist and music teacher (and, in April, 1886, in the New York Times, for being a deadbeat dad and not paying spousal support or child support). query.nytimes.com/gst/abstract.html?res=9801E5DD1638E533A... This was Mr. Sherwood's obituary in The Etude: www.web-helper.net/PDMusic/Articles/21911/article3.asp The Etude has just been informed of the death of William hall Sherwood, which occurred n Chicago on the eighth of January. It is difficult at this time for us to find fitting words to express the deep sense of personal loss which this sad communication brings to us. "Death! the great proprietor of all", has claimed our most distinguished native virtuoso for its own. We know that the many, many readers, who joined with us in the admiration of Mr. Sherwood's priceless services to the art of music in America, will feel a similar sense of loss. His friendship with the founder of The Etude covered a lifetime. Like Dr. William Mason, B.J. Lang, Carl Reinecke, Carl Merz, and other great educators, he honored this journal by making it the mouthpiece for some of his best thoughts. Our last communication from he reported that, although upon a sick bed, he was engaged in an article for The Etude. The musicians of our country may well mourn such an irreplaceable loss. William Hall Sherwood was born January 31, 1854, at Lyons, N.Y. His father, the Rev. L. H. Sherwood, was an accomplished musician and teacher, who founded the Lyons Musical Academy. The son studied with his father and also with Heimburger, Pychowski and Dr. William Mason in America. He then went to Europe where he studied for five years. Among his many teachers were Kullak, Weitzmann, Wuerst, Deppe, Richter, Karl Doppler, Scotson Clark and Franz Liszt. His experience with Liszt and with Kullak are recounted in the issues of The Etude for May and July 1908, and form two of the ablest articles ever contributed to this journal. Before returning to the United States, Mr. Sherwood played several concerts in Europe, and won the enthusiastic praise of many great musicians, including Grieg. His reappearance in the United States was made in 1876, and since then he has made innumerable concert tours in this country and Canada. He taught various times in New York, Boston (New England Conservatory), and finally in Chicago (Chicago Conservatory). Later (1897) he founded the Chicago Piano School. Mr. Sherwood was one of the staunchest champions of the rights of Americans in music. He realized that American teachers were exceptionally successful in Europe, and that many of our native teachers in America have had educational advantages in this country and on the other side which could not be excelled. Yet he was forced to witness the procession of American pupils with their votive dollars wandering toward European musical shrines and neglecting our American teachers. His protests against this system were emphatic, and logical. He took full cognizance of the value of travel and residence abroad. He also never disparaged the abilities of the able teachers of Europe, but he left no word unsaid to condemn those pupils who deserted fine teachers in America to enter the classes of mediocre and unknown teachers in European capitals. In all this The Etude endorsed Mr. Sherwood to the fullest extent. As a pianist Mr. Sherwood was one of the limited class of pianists who succeed in playing with authority and taste, and at the same time with the brilliancy demanded by the large concert room. His compositions were for the most part pianistic. He was a very forceful and individual teacher. Mr. Sherwood was one of the leading workers in the higher musical development of America. His labors can not be measured in words, nor can the results of his untiring efforts be comprehensively foreseen by the present generation. The Sculptor: Lorado Zadoc Taft Lorado Zadoc Taft (1860 â€" 1936), a regional American sculptor, writer and teacher, created the bust in this photo. Wikipedia offers this account of Mr. Taft's life: After being homeschooled by his parents, Taft earned his bachelor’s degree (1879) and master’s degree (1880) from the University of Illinois where his father was a professor of Geology. The same year he left for Paris to study sculpture. In Paris he attended the Ecole des Beaux-Arts where he studied with Augustin Dumont, Jean Marie Bienaimé (Bonnassieux) and Jules Thomas. Upon returning to the United States in 1886 he settled in Chicago (although he continued to have a connection to the University of Illinois in Urbana for most of the rest of his life) and begun teaching at the Art Institute of Chicago, a post he was to remain at until 1929. In 1892, while the art community of Chicago was all in a twitter about preparing for the World's Columbian Exposition of 1893 head architect Daniel Burnham expressed concern to Taft that the sculptural adornments to the buildings might not be finished on time. Taft asked if he could employ some of his female students as assistants (women as sculptors were not an accepted reality at that time) for the Horticultural Building, Burnham responded with the classic reply, ‘Hire anyone, even white rabbits if they’ll do the work." From that arose a group of talented women sculptors who were to retain the name, "the White Rabbits." These included Enid Yandell, Carol Brooks MacNeil, Bessie Potter Vonnoh, Janet Scudder, and Julia Bracken. Later another former student, Francis Loring, noted that Taft used his students’ talents to further his own career, a not uncommon observation by students regarding their teachers. In general, history has given Taft credit for helping to advance the status of women as sculptors. In 1898, he was a founding member of the Eagle's Nest Art Colony. In 1903 Taft published The History of American Sculpture, the first survey of the subject and a work that Taft is better known for (except perhaps in Chicago) than his many sculptures. His revised version, published in 1925, was to remain the standard reference on the subject until Wayne Craven published "Sculpture in America" in 1968. As he grew older his eloquent speaking skills and compelling writing led Taft, along with Frederick Ruckstull to the forefront of sculpture’s conservative ranks, where he often served as a spokesperson against the modern and abstract tendencies that developed in sculpture during his lifetime. Taft's frequent lecture tours for the Chautauqua also gave him a certain measure of celebrity. In 1921 Taft published Modern Tendencies in Sculpture, a compilation of his Scammon Lectures at the Art Institute of Chicago. The book continues to be not only an excellent survey of American sculpture in the early years of the 20th century but still provides one of the best (in English) overviews of the European sculpture scene at that time. Lorado Taft was a member of the National Sculpture Society and exhibited at both their 1923 and 1929 shows. Today Taft is best remembered for his various fountains. A residence hall at the University of Illinois at Urbana-Champaign is named in Lorado Taft's honor. en.wikipedia.org/wiki/Lorado_Taft
1960 December - unknown photographer, ANP, Copenhagen - Nat Russell after pot bust and free with girlfriend 
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kw 
Image by ~C4Chaos kw @ IU-Art 2003
