Editing George Grey Barnard (section)

==Biography==
Barnard was born in [[Bellefonte, Pennsylvania]], but grew up in [[Kankakee, Illinois]], the son of the Reverend Joseph Barnard and Martha Grubb; the grandson and namesake of merchant George Grey Grubb; and a great-grandson of Curtis Grubb, a fourth-generation member of the [[Grubb Family Iron Dynasty|Grubb iron family]] and a onetime owner of the celebrated [[Gray's Ferry Tavern]] outside Philadelphia.

Barnard first studied at the [[Art Institute of Chicago]] under [[Leonard Volk]].<ref name="MMA">"George Grey Barnard (1863–1938)," in Lauretta Dimmick and Donna J. Hassler. ''American Sculpture in the Metropolitan Museum of Art: A catalogue of works by artists born before 1865''. Metropolitan Museum of Art, 1999. pp. 421–27.[https://books.google.com/books?id=8jr6vNLLYMgC&dq=archive+george+grey+barnard&pg=PA421]</ref> The prize he was awarded for a marble bust of a ''Young Girl'' enabled him to go to Paris,<ref>{{Cite book|chapter=Barnard, George Grey|date=31 October 2011|title=Bénézit Dictionary of Artists|doi=10.1093/benz/9780199773787.article.B00012046|isbn=9780199773787}}</ref> where, over a period of three and half years, he attended the [[École nationale supérieure des Beaux-Arts]] in Paris (1883–1887), while also working in the atelier of [[Pierre-Jules Cavelier]]. He lived in Paris for twelve years, and scored a great success with his first exhibit at the [[Salon (Paris)|Salon]] of 1894. He returned to America in 1896, and married Edna Monroe of Boston. He taught at the [[Art Students League of New York]] from 1900 to 1903, succeeding [[Augustus Saint-Gaudens]].<ref name="MMA" /> He returned to France, and spent the next eight years working on his sculpture groups for the Pennsylvania State Capitol.<ref name="MMA" /> He was elected an associate member of the [[National Academy of Design]] in 189x, and an academician in 1902.

[[File:George Grey Barnard and Clare Frewen Sheridan.jpg|thumb|left|Barnard and Clare Sheridan touring his cloister in New York City, 1921.]]
A strong [[Auguste Rodin|Rodin]] influence is evident in his early work. His principal works include the allegorical ''Struggle of the Two Natures in Man"'' (1894, in the [[Metropolitan Museum, New York]]); ''The Hewer'' (1902, at Cairo, Illinois); ''[[The Great God Pan (sculpture)|The Great God Pan]]'' (1899, at Columbia University); the ''Rose Maiden'' ({{circa}}1902, at Muscatine, Iowa); the simple and graceful ''Maidenhood'' (1896, at Brookgreen Gardens).

''[[The Great God Pan (sculpture)|The Great God Pan]]'' (1899), one of the first works Barnard completed after his return to America, was originally intended for the [[Dakota building|Dakota Apartments]] on Central Park West. [[Alfred Corning Clark]], builder of the Dakota, had financed Barnard's early career; when Clark died in 1896, the Clark family presented Barnard's ''Two Natures'' to the Metropolitan Museum of Art in his memory, and the giant bronze ''Pan'' was presented to Columbia University, by Clark's son, [[Edward Severin Clark]].

In 1911 he completed two large [[Pennsylvania State Capitol sculpture groups|sculpture group]]s for the new [[Pennsylvania State Capitol]]: ''The Burden of Life: The Broken Law'' and ''Love and Labor: The Unbroken Law''. Between the two groups, they feature 27 larger-than-life figures.

His larger-than-life [[Statue of Abraham Lincoln (Cincinnati)|statue of Abraham Lincoln]] (1917) drew heated controversy because of its rough-hewn features and slouching stance. The [[Statue of Abraham Lincoln (Cincinnati)|first casting]] is at [[Lytle Park]] in [[Cincinnati, Ohio]]; the second in [[Manchester]], England (1919); and the third in [[Louisville, Kentucky]] (1922).<ref>{{cite web |title=Kentucky's Abraham Lincoln: George Bernard Grey's Lincoln Statue in Louisville |url=https://apps.legislature.ky.gov/LegislativeMoments/moments09RS/web/Lincoln%20moments%2028.pdf |website=Kentucky Legislature |access-date=28 May 2024 |archive-url=https://web.archive.org/web/20090511081450/http://www.lrc.ky.gov/record/Moments09RS/web/Lincoln%20moments%2028.pdf |archive-date=11 May 2009 |date=18 December 2008 |url-status=live}}{{cbignore}}</ref>

French art dealer [[René Gimpel]] described him in his diary (1923), as "an excellent American sculptor" who is "very much engrossed in carving himself a fortune out of the trade in works of art."<ref>Gimpel, ''Diary of an Art Dealer'' (John Rosenberg, tr.) 1966:211.</ref> Barnard had a commanding personal manner: "He talks of art as if it were a cabalistic science of which he is the only astrologer", wrote the unsympathetic Gimpel; "he speaks to impress. He's a sort of [[Rasputin]] of criticism. The Rockefellers are his imperial family. And the dealers court him."<ref>Gimpel, ''Diary'' 15 January 1923.</ref>

Interested in medieval art, Barnard gathered discarded fragments of medieval architecture from French villages before World War I.<ref>{{cite news|title=Rare Relics Kept from America by French Protest|url=https://www.nytimes.com/1913/06/15/archives/rare-relics-kept-from-america-by-french-protest-plan-of-george-gray.html |newspaper=The New York Times |date=June 15, 1913}}</ref>  He established this collection in a church-like brick building near his home in [[Washington Heights, Manhattan]] in New York City. The collection was purchased by [[John D. Rockefeller Jr.]] in 1925 and forms part of the nucleus of [[The Cloisters]] collection, part of the [[Metropolitan Museum of Art]].<ref>{{cite web|title=The Cloisters Museum and Gardens|url=http://www.metmuseum.org/about-the-museum/history-of-the-museum/the-cloisters-museum-and-gardens|publisher=The Metropolitan Museum of Art}}</ref> At least one object, sold to the [[Museum of Fine Arts, Boston]] in 1924, he offered with misleading [[provenance]].<ref>{{Cite web|url=https://collections.mfa.org/objects/64983/retable-of-the-virgin?ctx=3fe60bac-3113-4161-9650-05b9554c223d&idx=11|title=Retable of the Virgin|website=MFA Boston|access-date=29 March 2020}}</ref>

Barnard died following a heart attack on April 24, 1938, at the Harkness Pavilion, [[Columbia University Medical Center]] in [[New York City|New York]].  He was working on a statue of [[Abel]], betrayed by his brother [[Cain]], when he fell ill. He is interred at [[Harrisburg Cemetery]] in [[Harrisburg, Pennsylvania]].

===1913 Assessment by Lorado Taft===
[[File:Struggle of the Two Natures in Man 01.jpg|thumb|''Struggle of the Two Natures in Man'' (marble, 1892–1894), Metropolitan Museum of Art.]]
{{blockquote|George Grey Barnard is a Westerner, although he chanced to be born in Pennsylvania, where his parents were temporarily residing in 1863. The sculptor's father is a clergyman, and the fortunes of the ministry afterward led him to Chicago, and thence to Muscatine, Iowa, where the son passed his boyhood. One cannot doubt that these circumstances had their profound influence upon the character of the young artist. In it is something of the largeness of the western prairies, something of the audacity of a life without tradition or precedent, a burning intensity of enthusiasm; above all, a strong element of mysticism which permeates all that Barnard does or thinks.

The stories of his student struggles in Chicago and Paris are familiar. The first result of all this self sacrifice became tangible in that early group, a tombstone for Norway, in which the youth portrayed "Brotherly Love," a work of "weird and indescribable charm."

In 1894 Barnard completed his celebrated group, ''Two Natures'', upon which he had toiled, in clay and marble, for several years. This achievement gave him at once high standing in Europe, and his work has been of interest to the cultivated public of the world's capitals. Then followed an extraordinary ''Norwegian Stove'', a monumental affair illustrative of Scandinavian mythology; and ''Maidenhood'' and the ''Hewer''.

The great work of Barnard's recent years has been the decoration of the Pennsylvania capitol. It has been said of him that he was "the only one connected with that building who was not smirched"; but his part is a story of heroism and triumph. The writer has not yet seen the enormous groups in place, but is familiar with fragments that have won the enthusiastic praise of the best sculptors of Paris. They are inspiring conceptions which point the way to still mightier achievements in American sculpture.<ref>Lorado Taft, "Famous American Sculptors," ''The Mentor'' (magazine), vol. 1, no. 36,  (October 20, 1913).</ref>}}