In 1915 Jennewein became a naturalized U.S. citizen. Soon afterward he entered the United States Army. In 1916 his tour was cut short when he was awarded an honorable discharge after receiving the Prix de Rome, a highly sought-after art award. This allowed him to study at the American Academy in Rome for the next three years. In Rome Jennewein turned his attention to sculpture.
Architectural sculpture
- 1923 Lincoln Life Insurance Building, Fort Wayne, IN
- 1931 Education Building, Harrisburg, PA
- 1932 British Empire Building at Rockefeller Center, Manhattan
- 1933 Pediment, Philadelphia Museum of Art, Philadelphia, PA
- 1934 Justice Department Building, Washington, DC
- 1936 Kansas City City Hall Kansas City, MO
- 1938 Finance Building, Harrisburg, PA
- 1939 Two stone pylons, Brooklyn Public Library, Brooklyn, NY
- 1941 Dauphin County Court, Harrisburg, PA
- 1950 Fulton County Building Annex, Atlanta, Georgia
- 1940 West Virginia State Office Building, Charleston, WV
- 1954 Two panels inside the White House, Washington, DC
- 1964 Two monumental figures for the Rayburn House Office Building, Washington, DC
Later career
The work that he is probably best known for today, and which garnered him much praise when it was unveiled in 1933, was the polychromed figures in the pediment of the Philadelphia Museum of Art. Jennewein was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in the summer of 1949.
In the course of his career Jennewein produced at least five monumental eagles: one at the entrance to Arlington National Cemetery in Arlington, Virginia, another on the Arlington Memorial Bridge, connecting Arlington with Washington, D.C., the third on the Federal Office Building in New York, the fourth, a Spanish-American War Memorial in Rochester, New York.
The fifth was at Ardennes Memorial located in Neuville-en-Condroz in Belgium. He also produced somewhat smaller eagles for the gates of the Embassy of the United States in Paris.
Jennewein's sculpture, which never strayed too far from the classical ideals that he had come to so admire while in Rome, became increasingly modernized and his style comfortably fits into the Greco Deco category.
Jennewein's work received some attention when his Noyes Armillary Sphere disappeared during a riot in Washington, D.C. in the turbulent 1960s. It has not yet been recovered.
In 2002, two of Jennewein's semi-nude figures in the Robert F. Kennedy Department of Justice Building in Washington, D.C.were hidden by a curtain. This has been linked to the exposed breast on the female figure, Spirit of Justice (the male counterpart is Majesty of Law). In 2005 the curtain was removed.
From Wikipedia
http://en.wikipedia.org/wiki/C._Paul_Jennewein
Text is available under the terms of the GNU Free Documentation
http://en.wikipedia.org/wiki/Wikipedia:Text_of_the_GNU_Free_Documentation_License
| |
