2. ITALIA
In 1965, a group of prominent Italian businessmen presented Rockefeller Center with this bronze bas-relief as a symbol of Italy and Italian-Americans. During the Second World War, a bas-relief with an undesirable fascist theme had been removed from this prominent location. Over a twenty year period, there had been attempts to replace it with a sculpture that would represent both postwar Italy and the Italian-Americans. Finally, the prominent Italian sculptor Giacomo Manzu agreed to accept the commission for this plaque as well as a companion piece that was to be part of the total concept. He created this large, simple bas-relief bearing the word ITALIA in high bold letters at the top and an ornate cultural motif in the center. The bas-relief is uniquely linked to Manzu’s native land—it can have no other possible theme or universal relevance. It is a grouping of entwined cuttings of grapevines, leaves, and stalks of wheat. The broad, level, empty surface around the central motif is effective–the viewer is compelled to focus back and forth between the central motif and the word ITALIA, uniting the elements and the theme. The patina is a rich golden brown. The motif is classically rendered, and the letters ITALIA are in a simple type style. It is not an Art Deco statement, but it does not contrast or challenge the architecture. It’s a restrained architectural sculpture that functions well in its setting. Manzu created a smaller companion bas-relief titled The Immigrant which until 2001 was installed directly below this work and was part of the unit. It can now be found near the Fiftieth Street entrance to this building. Giacomo Manzu is renowned for his bronze doors at St. Peter’s Cathedral (Basilica di San Pietro) in the Vatican, which he created the year before he produced these works for Rockefeller Center. In 1965, a group of prominent Italian businessmen presented Rockefeller Center with this bronze bas-relief as a symbol of Italy and Italian-Americans. During the Second World War, a bas-relief with an undesirable fascist theme had been removed from this prominent location. Over a twenty-year period, there had been attempts to replace it with a sculpture that would represent both postwar Italy and the Italian-Americans.Finally, the prominent Italian sculptor Giacomo Manzu agreed to accept the commission for this plaque as well as a companion piece that was to be part of the total concept. He created this large, simple bas-relief bearing the word ITALIA in high bold letters at the top and an ornate cultural motif in the center. The bas-relief is uniquely linked to Manzu’s native land—it can have no other possible theme or universal relevance. It is a grouping of entwined cuttings of grapevines, leaves, and stalks of wheat. The broad, level, empty surface around the central motif is effective–the viewer is compelled to focus back and forth between the central motif and the word ITALIA, uniting the elements and the theme. The patina is a rich golden brown. The motif is classically rendered, and the letters ITALIA are in a simple type style. It is not an Art Deco statement, but it does not contrast or challenge the architecture. It’s a restrained architectural sculpture that functions well in its setting. Manzu created a smaller companion bas-relief titled The Immigrant which until 2001 was installed directly below this work and was part of the unit. It can now be found near the Fiftieth Street entrance to this building. Giacomo Manzu is renowned for his bronze doors at St. Peter’s Cathedral (Basilica di San Pietro) in the Vatican, which he created the year before he produced these works for Rockefeller Center.Artist: Giacomo Manzu (1908-1994)Installed: May 1965Type: High-reliefFoundry: Modern Artistic Foundry, Milan, ItalyMedium: Cast bronzeMeasurements: 15 feet 7 inches high, 10 feet 5 inches wideLocation: Palazzo D'italia. Above 626 Fifth Avenue entrance
21. YOUTH LEADING INDUSTRY
In 1936, at the time Youth Leading Industry was cast, political forces were gathering in Italy. A sense of a bold, self-confident and modern future was emerging. Unfortunately, it was under the leadership of the fascist dictator, Benito Mussolini. The Italian American artist Attilio Piccirilli captured the energy of this movement in his bas-relief and glorified it–a tribute he may have regretted since his nephew served and died in the Second World War as an American soldier. The bas-relief was cast in forty-five Pyrex glass blocks–a ground-breaking use of Pyrex as an artistic material. Each block was hand cast and unique. After the casting in glass, the models and molds were destroyed. No two are alike, and no others exist in the world. The small bubble-like imperfections in the glass were deliberate and consciously included to simulate fluidity. Corning Glass Works dubbed it “poetic glass.” The subject matter is pure neo-Roman and is a typical fascist theme of the 1930s: A youth shall lead the way. The bas-relief embodies the strength and energy of those formative years. It looks toward the future and better times for Italy with the young fascist party’s leadership in commerce, industry, and world affairs. The vigorous, almost nude figure dashing ahead of the rearing horses represents its empowerment and destiny. The chariot and powerful horses symbolize the strength of the new industries and transportation. They are controlled by a confident charioteer (their leader) who skillfully guides them into the future. Piccirilli created the scene using all the artistic devices of flamboyant realism—classical symbolism, bulging muscles, pulsating movement, and theatrical poses. Lit from behind, it remains one of the highlights of an evening stroll down Fifth Avenue.Artist: Attilio Piccirilli (1868-1945)Installed: May 1936Type: Bas-reliefFoundry: Corning Glass Works, Corning, New YorkMedia: Cast Pyrex glassMeasurements: 16 feet high, 10 feet wideLocation: Above 636 Fifth Avenue entrance
20. CORNUCOPIA OF PLENTY
For the astute viewer, this enigmatic panel by Lee Lawrie suggests the activities and wealth to be found within this building. The polychrome-painted stone carving depicts a messenger soaring from the clouds, emptying an overflowing horn unto the earth. The meaning of the carving is somewhat difficult to understand. Lee Lawrie wrote that it symbolizes “the plentitude that would result from well-organized international trade.” The theme is compatible with the activities of the building, even if the art does not clearly reflect the subject matter. From the point of view of purely embellishing the building, the art is certainly effective. The figure emerges from a geometric, V-shaped cloud speeding toward a row of waves. The bold sweep of the female angling downward, her golden hair flowing, and the contents of the cornucopia dramatically spilling skillfully conveys a feeling of motion and energy. The simple coloration, highlighted with gilding, was designed by Leon V. Solon.Artist: Lee Lawrie (1877-1963)Installed: 1937Type: Friezesintaglio-carvedMedia: Limestone, polychrome, gildingLocation: 10 West Fifty-first Street
19. 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
17. 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
18. SAINT FRANCIS OF ASSISI WITH BIRDS
The easily recognizable figure of Saint Francis is a universal symbol of love of self and neighbor. Born in 1181 in Umbria, Italy, the Italian saint was the son of a wealthy cloth merchant and did not start life as a religious man. He had a misspent youth that caused his family grief and led him to spend time in jail. During his imprisonment, he had a conversion experience in which he received a message from Christ that altered his life. He renounced the material world, devoted himself to the Gospels, and served humanity as a simple priest practicing extreme poverty. He tended to the sick, preached in the street, lived with animals, cared for lepers, cleaned churches, and slowly began to attract followers. In 1212, with papal blessing, he founded the Order of Friars Minor (Franciscans). They were the first mendicant friars, and they followed the Gospels literally. The Franciscans rejected materialism and, in those days, did not own or build monasteries. They lived in the streets, in poverty, as brothers devoted to the church and dependent on the world around them. Saint Francis was well known for his love of animals. In this carving, he wears the austere brown friar’s robe fastened by a rope cincture with three knots at the end. This simple garb is symbolic of the order he founded. His feet are bare. Behind his head is the halo of sainthood in which gilded doves fly—the sign of the Holy Spirit. Sharing the meager meal in his begging bowl with a bird, he gazes upward, seemingly thankful. Saint Francis was the first person to receive the stigmata. Two years after his death, he was canonized by Pope Gregory IX. The formality of Lawrie’s composition, the simplicity of the design, the use of gilding, and the shallow depth of the carving give this architectural embellishment the appearance of an illuminated manuscript.Artist: Lee Lawrie (1877-1663)Installed: September 1937Type: Intaglio carvingMedia: limestone, polychrome, and gildingLocation: Above 9 West 50th Street entrance
3. 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
4. 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
5. 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
6. HUMANKIND FIGURES
In 1933, Paul Manship created these heroic size figures to flank the golden Titan Prometheus. At that time they were gilded and stood on the granite shelves on either side of the great Titan’s fountain. They were vital elements in the depiction of the myth of Prometheus giving humankind the gift of fire and formed what is artistically called a sculptural group. After installation, Manship was not satisfied with the grouping and had the figures placed in a number of other sites, but always in the environs of Prometheus. None of the installations seemed to appeal to him at the time, and the figures were removed and stored on the roof garden of the British Empire Building. They remained there for fifty years until 1983 when they were rescued from oblivion, restored, given a traditional brown patina, and placed in the skating rink on new pedestals. In 2001, during a restoration of the rink, they were moved to pedestals in a new prominent location near the staircase where they announce Prometheus. The simplified, well-crafted figures are typical of Manship’s formal style. They are formed with smooth planes, gracefully carved masses, and a discrete use of rhythmic patterns. Neither figure is completely nude or provocative, as none of Manships’ figures ever suggest sexual energy. They are depicted frontally, standing next to exaggerated reptilian branches of vegetation symbolic of the Garden of Eden. Despite the fact that humankind is about to be changed forever, their postures suggest boredom and weariness. Each figure slightly tilts its head, raises one knee, and holds its robe in one hand. If any fault is to be found with the two sculptures, it is that there is no excitement here; they are too stilted for the theme and too apathetic for their roles. Perhaps that is why Manship had them separated from Prometheus.Artist: Paul Manship (1885-1966)Installed: 1934Type: SculpturesMedia: Cast bronzeFoundry: Roman Bronze Works, Long Island City, New YorkMeasurements: Each figure is 8 feet highLocation: The Channel Gardens and Promenade, flanking staircase to Lower Plaza
7. 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
8. 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
16. RADIO
Although Radio and Television are located on different streets, they are companion pieces. Theyare associated thematically with the building’s main tenant, NBC. Each flank a side entrance to the building, one on Forty-ninth Street and the other on Fiftieth Street. Their overall scale is heroic, and their forms daunting. Leo Friedlander’s symbolism does not make his sculptures easy to understand–both sculptures are visual puzzles that need to be deciphered. In these works, size, mass, texture, and repetition play important aesthetic roles. Size and mass are used to awe the viewer and lend strength to the architecture. Texture and repetition lend interest to the carvings. Radio is a cryptic association of various elements. The group on the east pylon represents broadcasting. Three figures sing to the larger figure (transmission), who sends the sound to the west pylon, to the figures representing acoustics. The figures of Mother Earth and her child in the foreground represent the people of the world (the audience) receiving the sounds of radio. Radio and Television are architectural icons of Art Deco architectural sculpture.Artist: Leo Friedlander (1890-1966)Installed: 1934Type: Heroic-scale sculptureMedium: Carved limestoneMeasurements: 15 feet high, 10 feet wideLocations: Fiftieth Street entrance
15. DANCE DRAMA AND SONG
Placed high up on the south façade of Radio City Music Hall are three large stylized decorative plaques representing the main activities of theater: dance, drama, and song–the creative forces that foster civilization. The plaques are the designs of Hildreth Meiere, who collaborated with the famed metalworker Oscar B. Bach. As a first step, Meiere created a series of small, very detailed studies. Her final gouaches were used by Bach as a blueprint for fabrication in metal and coloration in enamel on a scale never before attempted. Working from Meiere’s full-size cartoons, Bach created each form in a variety of both traditional and new lightweight modern metals, such as aluminum, that were cut, formed, hammered, and embossed to create a variety of textures and reflective qualities. Once the different shapes were completed, Bach followed Meiere’s direction to color various elements using polychrome enamel. The metal parts were joined by riveting or soldering the edges. The results were brilliant. In Dance, the female figure frolics across the plaque, holding cymbals high in the air. Her red hair swirls above her head and onto the surrounding border. The gallant Roman figure behind her wears a feathered helmet, golden skirt, and colorful cloak. He prances across the plaque while supporting a flying drape that shields her nude body. The figures’ positions suggest movement and graceful action. The middle plaque Drama contains three figures. The central figure is the essence of the Art Deco style. She wears an elaborate headdress, and her face is serenely neutral, personifying drama. She is poised in a frontal position, with her perfect figure apparent through a diaphanous gown. Wearing a golden helmet and breastplate, she holds a jazzy multi-colored robe aloft. Kneeling flanking silver figures raise the masks of comedy and tragedy. The third plaque, Song, contains two figures in a gentle, harmonious setting. The female figure gracefully raises her arms toward fluttering birds while her drape softly floats around her nude body. Her seated male partner plays the flute and appears to be lost in his music. The combination of metals, textures, colors and playful style in the plaques punctuates the pristine space and breaks the monotony of the plain limestone façade. The art invites the passer-by to Radio City Music Hall—it’s an exciting place!Artist: Hildreth Meiere (1893-1961)Installed: 1932Type: PlaquesSize: 18 feet in diameterFabricator: Oscar Bruno BachMedia: Carbon steel, copper, aluminum, chrome-nickel steel, vitreous enamel, gold, and silver gildingLocation: Fiftieth Street façade.
14. MORNING, PRESENT, EVENING
This was the first work of art commissioned for Rockefeller Center. It set the stage for the Art Deco style that was to become aesthetically synonymous with the Center. The three limestone panels are allegories of time and evocative of radio’s vast reach and never-ending transmission. Symbolizing radio was appropriate since the first tenant in this building was the Radio Corporation of America (RCA). At that time, in America, radio was a recent development and was fast becoming a powerful means of communication because there were no barriers–its’ signal can be constant and its range infinite. The Rockefellers recognized its worldwide importance and wanted to highlight its advent with these three bas-reliefs. The south-panel main figure represents Morning. He is a strong youth who is depicted with his face and arms uplifted to welcome the day. He is conveyed on the wings of an eagle that, like radio waves, relentlessly flies through the air. The eagle is iconic of America’s strength and, in this panel, symbolizes the power of radio. The central-panel figure represents the Present. This classically draped woman is depicted soaring upward through space accompanied by the mythological winged horse Pegasus. In her right hand, she holds a torch whose stylized flames personify the transmission of knowledge. As she hastens through the day, her hair ripples outward. She holds an electric bolt aloft, symbolic of the speed of radio waves. The prancing Pegasus is identified with inspiration. The north panel depicts Evening; it completes the time cycle and radio’s endless transmission. The figure rests on the wings of a heron-like bird that effortlessly glides through the night sky. His eyes are closed, and he holds one arm protectively in front of his face, the other behind him as if pushed by the flow. In the past, the panels provided identity to the building’s tenants. Nowadays, their rich array of symbols are purely Art Deco architectural embellishments.Artist: Robert Garrison (1895-1946)Installed: November 1932Type: Bas-reliefMedia: LimestoneMeasurements: Each panel 21 feet longLocation: Above 1270 Avenue of Americas entrance
13. INTELLIGENCE AWAKENING HUMANKIND
This colorful mosaic is often missed as it is installed within a loggia above the entrances to the building. A masterwork of small glass tiles (tesserae) set in white cement was fabricated in a workshop in Long Island City and is composed of over one million glass tiles in two hundred and fifty colors. Each small glass tile was hand-cut and hand-set. The work is a narrative concerning the triumph of knowledge over the evil of ignorance. The central figure symbolizes thought (intelligence). She stands above the world and controls the action in the mosaic. Flanking Thought are the other two most powerful figures in the mosaic: spoken words and written words. From these central protagonists float other figures symbolizing creativity, ideas, and intellectual efforts. Emanating from these figures are the subjects that enlighten and advance civilization–science, biology, music, and art. Accomplishments in these fields are conveyed and broadcast on the wings of radio. Originating from behind the central figure is a golden current of thought energy in the form of radiating waves of knowledge. Knowledge is a powerful force that devours the enemies of humankind: ignorance, cruelty, poverty, and fear. The mosaic’s message is clear: thought will propagate new knowledge and dispose of human misery and ignorance, thereby advancing civilization. The work has a religious tone, as mosaics are most frequently found in churches. The artist had originally titled the work Thought Frees Man through Radio because it was to be installed on the façade of the newly built RCA Building.Artist: Barry Faulkner (1881-1966)Installed: 1933Type: MosaicFabricator: Ravenna Mosaic Works, Long Island City, New YorkMedium: Glass tesseraeMeasurements: 79 feet long, 14 feet highLocation: 1250 Avenue of the Americas loggia
12. TELEVISION
Although Radio and Television are located on different streets, they are companion pieces. They are associated thematically with the building’s main tenant, NBC. Each flank a side entrance to the building, one on Forty-ninth Street and the other on Fiftieth Street. Their overall scale is heroic, and their forms are daunting. Leo Friedlander’s symbolism does not make his sculptures easy to understand–both sculptures are visual puzzles that need to be deciphered. In these works, size, mass, texture, and repetition play important aesthetic roles. Size and mass are used to awe the viewer and lend strength to the architecture. Texture and repetition lend interest to the carvings.The work Television is just as perplexing as Radio to most viewers. Again, the most important concept is transmission, this time pictorially. The figures on the west pylon with their left legs lifted are dancing. That image is being transmitted by the larger figure who looks down at her hands, which frame the invisible picture of dancing figures. That transmission is sent to the east pylon. On this pylon, we find the standing figure of reception presenting a small image of the dancing figures to the audience, which is represented by the seated figures. Radio and Television are architectural icons of Art Deco architectural sculpture.Artist: Leo Friedlander (1890-1966)Installed: 1934Type: Heroic-scale sculptureMedium: Carved limestoneMeasurements: 15 feet high, 10 feet wideLocations: Forty-ninth Street entrance
9. PROGRESS
This bas-relief is an icon of the Art Deco style. It has all the primary characteristics–it is allegorical, has bold, flat, geometric shapes, strong colors, and stylized forms; and, above all, it is decorative. The main character is Columbia, the traditional female symbol of America. A large athletic figure dressed in a simple peasant dress, she is clearly the dominant figure of the composition and placed in its center, striding across the panel. Her face is composed and devoid of any emotion. One of her hands is raised, holding the flame of divine fire aloft. Her other hand bears an olive branch, the symbol of peace. The mythological horse Pegasus is placed behind her. He is the symbol of inspiration and depicted as a magnificent creature, his massive wings rising above Columbia’s head. The fore hooves of Pegasus are lifted as if he is pawing the air or leaping. An eagle, symbolizing power, is in the foreground and appears to be descending in preparation to set down. His wings are spread, his talons open, and his head turned upward toward the pan of divine fire. The three figures are set against a deep red background, and blue stylized clouds edged in gold. Golden stars are carved into the limestone near Pegasus’s hooves as if caused by the striking of his hooves upon the ground. The flat, low-relief is level with the stone façade. This work was a late addition to the building, and the stone used to carve the plaque was already set into the building and was not of sculptural quality, resulting in Lawrie having to re-carve some areas after Piccirilli Brothers completed their work. This was an unusual task for Lawrie since he ordinarily left all carving for the technicians. In this piece, the coloration designed by Leon V. Solon is as important as the carving.Artist: Lee Lawrie (1877-1963)Model-maker: Alex MascettiCarver: Piccirilli StudiosInstalled: 1937Type: Intaglio carvingMedia: Carved, polychrome, and gilded limestoneLocation: Above Forty-ninth Street entrance
10. INDUSTRY AND AGRICULTURE
Architectural ornamentation was placed on the part of the building most often viewed, such as the entrance, the main façade, or the lobby. Frequently, Art Deco ornamentation was not just decorative–it was created to make a statement about the builder, the tenant, an ideology, or even a way of life. These two heroic-size carvings represent the commercial activities of industry and agriculture. Statements about civilization, they depict universal activities, not individuals. The carvings are placed at street level, flanking the main entrance. One figure holds a shovel, symbolizing industry. The other figure holds a scythe in one hand and, with his other hand, gestures to shafts of wheat, representing the harvest, or agriculture. This piece is a straightforward interpretation of a common Art Deco theme—workers and their work. Both figures lean on partially gilded plinths flanking the doorway. Their bodies are sculpted in fixed frontal poses with their heads turned toward the entrance, creating an aura through which all must pass. Carved into the smooth, flat stone of the building’s façade and outlined with gilding, the sculptures are in low-relief, level with the surface of the wall. They are strong, idealized figures, signifying the roots of prosperity in America and promoting its work ethic. The placement and unity of the workers and the entrance relate to figures occupying similar positions on church entrances, heralding the values found within the building. In this instance, they suggest an earnest attitude towards commerce. The simplicity and formality of the carvings, and their size, admirably frame the entrance. Artist: Carl Paul Jennewein (1890-1978)Installed: 1937Type: Intaglio carvingMedia: Carved and gilded limestoneMeasurements: Approximately 8 feet highLocation: One Rockefeller Plaza main entrance
11. THE JOY OF LIFE
In this carving, Attilio Piccirilli created an unusual theme for a work of art in Rockefeller Center. John D. Rockefeller Jr., the developer of the Center, was by all accounts a reserved man who advocated temperance. In this colorful scene, however, the “joy” of life is wine. The main character is Bacchus, the Roman god of wine and revelry. Bacchus taught humankind the cultivation of the grape and then winemaking. Bacchus is depicted lolling on the ground in the center of the scene, holding a bunch of gilded grapes overhead. He appears narcissistic, fully enjoying and endorsing a rakish life–a real rascal. Surrounding him are nude and semiclad figures transporting vessels of wine or just standing around. Aside from the equally conceited female figure with the long, flowing golden hair, the group seems a bit more circumspect. They stare down at him and appear to be patiently awaiting something or someone. The bas-relief is colorful, decorative, and light-hearted. The colors are as important as the carving–the figures are set against a brilliant blue sky strewn with a multitude of flower-like gilded rosettes. Their bodies are painted gray like the surrounding limestone façade of the building, their togas are a pale brown, and their hair and the vessels they carry are gilded. Leon V. Solon is credited with designing the coloration. The location of the bas-relief is not ideal as it faces toward some rather unappealing commercial buildings that are not part of the Center. In spite of the poor location, Attilio Piccirilli created a pictorial bas-relief of great elegance that, as sheer architectural embellishment, is both unusual and delightful.Artist: Attilio Piccirilli (1868-1945)Installed: 1937Type: Bas-reliefCarver: Piccirilli BrothersMedia: Carved, polychrome-painted, and gilded limestoneLocation: Above the Forty-eighth Street entrance.
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
