1. ATLAS
The statue of the colossal Titan Atlas was a collaborative effort by two extremely talented artists. Lee Lawrie conceived the idea and designed the figure, and Rene Chambellan modeled the heroic-size statue from his sketch. Standing in a prominent place, it is one of the main attractions at Rockefeller Center and sets the stage for the themes and Art Deco style found in the Center. The story of Atlas is from Greek mythology. A brother of Prometheus, Atlas was a Titan, one of the races of half-god half-man giants who warred against Zeus and the Olympic gods. Eventually, the Titans were defeated, and Atlas was condemned to carry the world on his shoulders for his role in leading them against the gods. In this sculpture, Lawrie represents the world by an armillary sphere bearing the twelve signs of the zodiac, its axis pointing to the North Star. Lawrie designed the muscular Titan standing on a slim, simple pedestal, with knees bent and one leg overhanging his perch. This precarious position accentuates the great effort Atlas is making as he raises his burden. Every muscle of his huge body is modeled–every form is defined, full, gleaming, and smooth. His face is deeply furrowed as he focuses on his task; he is the quintessence of power and potency. The warm brown patina draws attention to the figure and contrasts it with the pale limestone façade of the building. The architects designed the pedestal so that its corner faces Fifth Avenue, not one of its sides. This was in order to provide an impression of easy flow and ample space in the forecourt. The figure is recognizable worldwide as one of the Art Deco icons of the Center and has been used on United States postage stamps.Artist: Lee Lawrie and Rene ChambellanInstalled: January 1937Type: Heroic-size sculptureFoundry: Roman Bronze Works, LIC, NYMedia: Cast BronzeMeasurements: 15 feet high on 9-foot granite pedestalWeight: 7 tonsLocation: 630 Fifth Avenue main entrance forecourt
2. INDUSTRIES OF THE BRITISH EMPIRE
Industries of the British Empire is a large bronze panel embellished with gilded allegorical figures. It is an austere panel that is striking without being ostentatious. The broad, stark surface of the background emphasizes the classically rendered and carefully organized group of nine figures in three vertical rows. These are representatives of industries, not portraits of individuals. The various industries were found throughout the empire and were once major sources of income for the British. There is nothing insignificant about the figures’ presence because their fixed frontal poses and firm stances embody substance and confidence. The gleaming figures are set against a rich brown patina. Their gilding underscores the concept of immeasurable wealth. In spite of their tasks, none of the figures appears burdened. They are depicted as beautiful, unemotional, and idealized–serving the glory of the empire.Eight of the figures are labeled with their industries. The British Isles are symbolized by three of the figures: the unlabeled central figure is that of a seaman with an anchor; Coal, is a miner with his lantern and pick; and Fish, is a man with a net and leaping fish. India is also symbolized by three figures: Salt, a woman carrying a bag; Tobacco, a woman and tobacco leaves; and Sugar, a man holding sugar cane stalks. Australia is symbolized by Wool, a shepherd with a crook and sheep. Canada is symbolized by Wheat, a reaper with his scythe and wheat stalks. Africa is symbolized by cotton, a woman and cotton plants. Beneath the figures the artist has sculpted a stylized rising sun, symbolic of the onetime truism, “The Sun Never Sets on The British Empire”.Industries of the British Empire is a large bronze panel embellished with gilded allegorical figures. It is an austere panel that is striking without being ostentatious. The broad, stark surface of the background emphasizes the classically rendered and carefully organized group of nine figures in three vertical rows. These are representatives of industries, not portraits of individuals. The various industries were found throughout the empire and were once major sources of income for the British. There is nothing insignificant about the figures’ presence because their fixed frontal poses and firm stances embody substance and confidence. The gleaming figures are set against a rich brown patina. Their gilding underscores the concept of immeasurable wealth. In spite of their tasks, none of the figures appears burdened. They are depicted as beautiful, unemotional, and idealized–serving the glory of the empire. Eight of the figures are labeled with their industries. The British Isles are symbolized by three of the figures: the unlabeled central figure is that of a seaman with an anchor; Coal, is a miner with his lantern and pick; and Fish, is a man with a net and leaping fish. India is also symbolized by three figures: Salt, a woman carrying a bag; Tobacco, a woman and tobacco leaves; and Sugar, a man holding sugar cane stalks. Australia is symbolized by Wool, a shepherd with a crook and sheep. Canada is symbolized by Wheat, a reaper with his scythe and wheat stalks. Africa is symbolized by cotton, a woman and cotton plants. Beneath the figures the artist has sculpted a stylized rising sun, symbolic of the onetime truism, “The Sun Never Sets on The British Empire”.Artist: Carl Paul Jennewein (1890-1978)Installed: January 1933Type: High-reliefFoundry: The Gorham Company, Providence, Rhode IslandMedia: Cast bronze with gildingMeasurements: 18 feet high, 11 feet wideLocation: British Empire Building, over 620 Fifth Avenue entrance
3. FRIENDSHIP BETWEEN AMERICA & FRANCE
This gilded panel sparkles above the main entrance to La Maison Francaise. The panel is arranged in narrative form to be read from top to bottom. At the top are the two principal heroic-size female figures holding hands, symbolizing the alliance between the cities of Paris and New York. They are depicted floating on the prows of two ships, emblematic of sea commerce and trade between the nations. Above the left figure, who holds a model of Notre Dame Cathedral, is the motto of Paris, Fluctuat nec Mergiture (Latin for “it floats but never sinks”). Above the right figure is a banner simply inscribed New York. The skyscrapers of Rockefeller Center are seen behind her.Below the heroic females are the figures of three luxuriant Graces. Poetry, on the left, is draped and lost in thought as her drape flies up behind her. Elegance, on the right, is partially draped and demure. Beauty, in the center, is nude and narcissistic but not the least bit vulgar–she is exquisite. The Graces signify the cultural exchange between the nations. The winged horse of mythology is found in the lower left corner and is symbolic of inspiration and imagination. It is here the artist chose to inscribe his name. A multitude of birds, branches, fruits, and corals are strewn across the plaque, contributing to the energy of the piece. This vigorous, undulating plaque is characteristic of Alfred Janniot’s work. It can not be considered an Art Deco work due to its classicism and vibrant lace-like ornamentation. The gilding and overall decoration heighten the drama of the piece and make it unique to the city. The panel and the carved stone figure of Gallic Freedom (also known as Torch of Freedom) above it are Janniot’s only sculptures in America.Artist: Alfred Janniot (1889-1969)Subject: Allegorical panelInstalled: January 1934Type: Bas-reliefFoundry: The Gorham Company, Providence Rhode IslandMedia: Gilded, cast bronzeMeasurements: 18 feet high, 11 feet wideLocation: Above 610 Fifth Avenue entrance
4. FOUNTAINHEAD FIGURES
The excitement in the Channel Gardens lies primarily with six fountainhead sculptures gushing broad streams of water. The large female fountainheads are Nereids, mythological daughters of a benevolent sea god named Nereus and his wife Doris (the daughter of Oceanus, the unending stream of water encircling the earth). They are considered gentle mermaids who were protective of sailors and used their beautiful voices to amuse their father. The male figures are Tritons, also hybrids, in that they have human heads and bodies with legs ending in fish tails. The first Triton lived in a golden palace at the bottom of the sea with his parents, the aquatic deities Poseidon and Amphitrite. The following generations, all called Tritons, became attendants of the sea gods. Inspired by these legends, Rene Chambellan created his Nereids and Tritons astride fanciful fish.From Fifth Avenue toward the lower rink, the first is Leadership, characterized by a muscular Triton with his head raised and blowing a large conch shell. He is a romantic clarion figure who guides and shapes the path the others will follow. Will is a Nereid determined to accomplish her mission by sheer determination. She has one hand raised and ready to strike if necessary; the other hand guides a large sea creature by pushing on its gill. Thought is a Nereid deeply concentrating and developing the solutions to the tasks ahead. Her head is bowed and touched by one hand; the other hand provides balance as she rides sidesaddle. Imagination is symbolized by a Nereid with one hand slicing the air as if cutting a new and unique path. Energy is a Triton who leans aggressively forward and is a portrait of vigor and power. Alertness is symbolized by a strong-minded and decisive Triton. He is vigilant and aware of any pitfalls that might befall humankind. His arms are spread wide, and his face is turned as if something has caught his attention. His mount’s head is raised, and its eyes are wide open as if it is also on guard.Artist: Rene Paul Chambellan (1893-1955)Installed: circa 1935Type: SculpturesFoundry: Roman Bronze Works, Long Island City, New York Medium: Cast BronzeMeasurements: Each figure is approximately 3 feet highLocation: East ends of the six pools
5. PROMETHEUS
Prometheus is the best-known sculpture in Rockefeller Center. It was created by the famed American sculptor Paul Manship. The gleaming gilded figure can be seen from Fifth Avenue through the Channel Gardens and is the main attraction of the Lower Plaza, where it sits in the center of a large granite fountain. Playful water jets splash around the figure and up onto the wall behind him. Carved in this red granite wall is a quote from the sixth-century B.C. Greek dramatist Aeschylus, “Prometheus, Teacher in Every Art, Brought the Fire that Hath Proved to Mortals a Means to MightyEnds.” The quote encapsulates the sculpture’s theme.Manship was fascinated by mythological subjects and events and had studied classical art. In this sculpture, he unites these interests in his own original manner, shaping the myth of Prometheus into a unique, decorative form. Manship depicts Prometheus conveying stolen fire from the Chariot of the Sun to give it to humankind to improve their miserable world. Manship catches this critical moment and the essence of the thievery. Prometheus is shown plummeting to earth with his right arm raised, holding his prize aloft, his left hand reaching out to balance his descent. As he descends, his robes fly outward, his mouth opens slightly, and his eyes are fixed on his target. Prometheus was a rebel and knew this act would anger the gods. Zeus, king of the gods, responded violently. He had reserved the power of fire for the gods and did not want to strengthen or benefit anyone else. He had Prometheus captured and chained to Mount Caucasus and set about punishing him for eternity. In a never-ending cycle, Prometheus suffered the consequence of his crime–every day, his liver was eaten by a giant vulture, and every night his liver regrew. Finally, he was rescued by Hercules, a brother insurgent. In Manship’s hands, the myth is explicit and the symbolism obvious–earth is represented by the huge mountain, the seas by the pool, and the heavens by the zodiac ring. Prometheus remains the focal point of the Center all year round. In the spring and summer it is the centerpiece of the outdoor restaurant. In the winter, it is bedecked in pine boughs and twinkling lights, adding to the holiday atmosphere. It is said that Prometheus is the most photographed monumental sculpture in New York City, which supports the idea that Rockefeller Center is the very heart of the city.ARTIST: Paul Manship (1885-1966)INSTALLED: January 1934TYPE: Heroic-size sculptureFOUNDRY: Roman Bronze Works, Long Island City, New YorkMEDIA: Gilded, cast bronzeMEASUREMENTS: 18 feet highWEIGHT: 8 tonsLOCATION: Skating Rink and Lower Plaza, fountain west wall
6. WISDOM
Lee Lawrie employed a number of materials and artistic devices to create a sculpture that would be a focal point and one of the most imposing pieces in the Center. The daunting figure of Wisdom looms over the entrance to the main building of Rockefeller Center–it can be seen from Fifth Avenue. Lawrie used height, mass, color, gilding, and two very different materials–stone and glass–to create it. He set the angular figure at a slant, thrusting it toward the viewer. The figure rises out of vast, swelling clouds that surge around his naked body. Wisdom is commanding and awesome. His brow is furrowed, and his expression intimidating. Golden rays crown his head. His left-hand shoves away the billowing clouds of ignorance which might obscure wisdom, and his right arm cuts diagonally across the panel. The right hand stretches downward, holding a fully extended golden compass that measures the cosmic forces swirling in the glittering glass screen below. Wisdom’s long beard, a symbol of sages, soars upward, indicating the strength of the forces seeking to impact and surround him. The biblical words “Wisdom and Knowledge Shall be the Stability of Thy Times” (Isaiah 33:6) are highlighted. These words are a reminder and admonition to humanity that they will be measured by a higher power. Wisdom, the creative power of the universe, controls human activities first by masterminding them, then appraising them. This massive work provides drama and focus to the building and is flanked by two other sculptures symbolizing the cosmic forces of the universe: Sound and Light. Wisdom was the first exterior piece in the Center to be painted and gilded. The coloration was created by Leon V. Solon in collaboration with the artist. Their joint efforts created an Art Deco icon. Artist: Lee Lawrie(1877-1963)Installed: 1933Type: Low-relief panelMedia: carved Indiana limestone, cast glass, polychrome paint, gildingFabricator: Piccirilli Brothers and Corning Glass Works, Corning, New YorkMeasurements: Stone: 22 feet high, 14 feet wide. Glass: 15 feet high; 55 feet wide; total height: 37 feetLocation: Above the main entrance
7. NEWS
This dynamic plaque soars above the entrance to the building, symbolizing the business of the former major tenant, the Associated Press. Although Associated Press relocated in 2004, Noguchi’s forceful sculpture remains the quintessential symbol of that business and is one of the major Art Deco works in the Center. It depicts five journalists focused on getting a scoop–the reporter with his pad, the newsman on the telephone, the reporter typing out his story, the photographer recording events, and the newsman hearing the news as it comes in on the wire. AP’s worldwide network is symbolized by diagonal radiating lines extending across the plaque. Isamu Noguchi won this commission in a nationwide contest held by the Rockefeller Corporation in 1939. The composition is action-packed and forceful. Noguchi used intense angles and smooth planes to create a fast-paced rhythm, filling the scene with the energy of a newsroom. Dramatically foreshortened, the figures appear to spring off the wall. This work is the first heroic-sized sculpture ever cast in stainless steel and demonstrates the artist’s and casters’ mastery of the medium. The piece was cast in nine parts, milled, and finished so precisely that the joints are not visible from the street. After it was installed, Noguchi hand-finished the work and adjusted the surface by augmenting and diffusing the reflective quality of the metal. Noguchi is best known for his abstract works. This was one of his last figurative works and the only time he employed stainless steel as an artistic medium.Artist: Isamu Noguchi (1904-1988)Installed: April 29, 1940Type: Low-relief panelFoundry: General Alloys, Boston, MassachusettsMedium: Cast stainless steelMeasurements: 22 feet high, 17 feet wideWeight: 10 tonsLocation: Above 50 Rockefeller Plaza main entrance
8. THE STORY OF HUMANKIND
This massive carved limestone screen was created to symbolize the purpose of the International Building and chronicle humanity’s progress. Lee Lawrie achieved this goal by dividing the screen into fifteen small rectangular spaces containing carved images he termed “hieroglyphs.” The message starts at the bottom center with four stereotypical figures depicting the races of humankind: red, white, yellow, and black. Directly above them is a sailing ship symbolizing international trade. The panel above the ship contains three male figures representing art, science, and industry–universal skills that helped develop the civilized world. Above these figures is the god Mercury, the mythical messenger, symbolizing worldwide communication and trade. At the top, the earth is represented by a clock and its rays. It is flanked by the two hemispheres, which are symbolized by the Big Dipper and the Southern Cross. The regions where the races dwell are represented by a seagull and a whale’s fluke for the North, palm trees for the South, a mosque for the East, and an Aztec temple for the West. A Norman tower signifies agrarianism or pre-industry; three smokestacks symbolize the new industrial age. A lion is emblematic of the kingdoms of the world; the eagle represents the republics. Lee Lawrie’s carefully organized design and his use of open spaces create an innovative architectural embellishment. Rene Chambellan worked with Lawrie to create the model, and Leon V. Solon designed the coloration, thereby creating a colorful screen and powerful Art Deco embellishment to the building.Artist: Lee Lawrie (1877-1963)Installed: September 1937Type: sculptural grille;Media: Carved Limestone, polychrome, and gildingLocation: 29 West 50th Street Entrance
