Editing Louis Sullivan (section)

==Legacy==
Sullivan's legacy is contradictory. Some consider him the first modernist.<ref>{{cite journal |last1=Abbott |first1=J. |title=Louis Sullivan, Architectural Modernism, and the Creation of Democratic Space |journal=The American Sociologist |date=2000 |volume=31 |issue=1 |pages=62–85|doi=10.1007/s12108-000-1005-0 |s2cid=144344744 }}</ref> His forward-looking designs clearly anticipate some issues and solutions of Modernism; however, his embrace of ornament makes his contribution distinct from the Modern Movement that coalesced in the 1920s and became known as the "[[International Style (architecture)|International Style]]". Sullivan's built work expresses the appeal of his incredible designs: the vertical bands on the Wainwright Building, the burst of welcoming [[Art Nouveau]] ironwork on the corner entrance of the Carson Pirie Scott store, the (lost) terra cotta griffins and porthole windows on the [[Hotel Saint Louis|Union Trust building]], and the white angels of the [[Bayard-Condict Building|Bayard Building]], Sullivan's only work in New York City. Except for some designs by his longtime draftsman [[George Grant Elmslie]], and the occasional tribute to Sullivan such as Schmidt, Garden & Martin's First National Bank in [[Pueblo, Colorado|Pueblo]], Colorado (built across the street from Adler and Sullivan's Pueblo Opera House), his style is unique. A visit to the preserved [[Chicago Stock Exchange]] trading floor, now at [[The Art Institute of Chicago]], is proof of the immediate and visceral power of the ornament that he used so selectively.

After his death Sullivan was referred to as a bold architect: "Boldly he challenged the whole theory of copying and imitating, and the catchword of "precedent", declaring that architecture was naturally a living and creative art."<ref>{{cite book |last1=Whitaker |first1=Charles |title=The Story of Architecture: from Rameses to Rockefeller |date=1934 |publisher=Halycon House |location=New York |page=242 }}</ref>

Original drawings and other archival materials from Sullivan are held by the [[Ryerson & Burnham]] Libraries in the [[Art Institute of Chicago]] and by the drawings and archives department in the [[Avery Architectural and Fine Arts Library]] at [[Columbia University]]. Fragments of Sullivan buildings also are held in many fine art and design museums around the world.