FEATURE IMAGE: Upper portion of East Bronze Door depicting Luminous Mysteries of the Rosary by Biagio Governali. Shrine of Our Lady of Pompeii in Chicago’s Little Italy.
The four exterior doors of the Shrine of Our Lady of Pompeii in Chicago – known as The Bronze Doors of the Holy Rosary of Our Salvation – visually narrate the twenty mysteries of the Rosary – the Joyful, Sorrowful, Glorious and Luminous mysteries. The East Bronze Door narrates the five Luminous mysteries.
Inspired by the main gate (“Porta del Paradiso”) of the Baptistry of Florence made by Florentine goldsmith and sculptor Lorenzo Ghiberti (1378-1455) between 1425 and 1452 and located in front of Florence’s cathedral, the contemporary bronze doors in Chicago were made by Biagio Governali, native of Corleone, Italy. With the artist following the time-honored methods of bronze relief sculpture used by medieval and Renaissance artists, the doors were dedicated and blessed by Francis Cardinal George, O.M.I. (1937-2015), on October 11, 2004.
Our Lady of Pompeii was originally established in Chicago in 1911 as an Italian national parish and is the oldest continuing Italian-American Catholic Church in Chicago. The Shrine of Our Lady of Pompeii was proclaimed in 1994 by Joseph Cardinal Bernardin (1928-1996) as a place to pray for peace that embraces pilgrims of all faiths. The bronze doors are intended to endure as a herald of the Catholic faith and give homage to the Shrine’s Italian roots.
Pope Saint John Paul II (1920-2005) established the Luminous Mysteries near the end of his almost 27-year pontificate in 2002. About the entire rosary itself the pope said, “To meditate on the mysteries of the Rosary is to look into the face of Christ.”
According to The Catholic Encyclopedia (“The Rosary,” Herbert Thurston and Andrew Shipman, volume 13, Robert Appleton Company), the structure of the rosary including its 15 mysteries (five each for Joyful, Sorrowful, and Glorious) had been officially unchanged for 500 years – from the 16th to 20th centuries.
In 2002, Pope John Paul II instituted the five Luminous Mysteries. In his Apostolic Letter, Rosarium Virginis Mariae, published on October 16, 2002, the pope marked out 4 broad areas as reasons to pray the rosary:
1. The rosary aids in contemplating Christ with Mary;
2. The rosary aids in contemplating the mysteries of Mary;
3. The rosary is a way of assimilating the mystery of “It is no longer I that live, but Christ lives in me” (Galatians 2:20); and,
4. The rosary is a way of praying for, and arriving at, peace in one’s life, family, neighborhood, and in the world.
In the same letter (Chapter 3), the pope observed that icons and other religious visual images can assist the human imagination to meditate and contemplate upon the mysteries of the Christian faith, particularly those of the rosary. Appealing to the Church’s traditional spirituality as well as that of St. Ignatius of Loyola (1491-1556) in The Spiritual Exercises, the pope’s exhortation to artistic representations as aiding mental prayer imbues Chicago’s great bronze portals depicting the mysteries of the rosary with the authenticity of standing at the threshold between time and eternity and the sacred and profane.
The pope acknowledged that although all the rosary’s 20 mysteries can be termed “luminous” – that is, pertaining to mysteries of light – the five new Luminous mysteries fill the gap between the infancy and hidden life of Christ (i.e., Joyful) and Holy Week from Palm Sunday to Resurrection Day (i.e., Sorrowful and Glorious).
“And when Jesus was baptized, he went up immediately from the water, and behold, the heavens were opened and he saw the Spirit of God descending like a dove, and alighting on him; and lo, a voice from heaven, saying, ‘This is my beloved Son, with whom I am well-pleased.”‘ (Matthew 3:16-17).
2. The Wedding Feast of Cana (top, right)
“On the third day there was a marriage at Cana in Galilee, and the mother of Jesus was there; Jesus also was invited to the marriage, with his disciples. When the wine failed, the mother of Jesus said to him, ‘They have no wine.’ And Jesus said to her, ‘O woman, what have you to do with me? My hour has not yet come.’ His mother said to the servants, ‘Do whatever he tells you.”‘ (John 2:1-5).
5. The Institution of the Eucharist (center)
“Now as they were eating, Jesus took bread, and blessed, and broke it, and gave it to the disciples and said, ‘Take, eat; this is my body.”‘ (Matthew 26:26).
3. The Proclamation of the Kingdom of God (bottom, left)
“The time is fulfilled, and the kingdom of God is at hand; repent, and believe in the gospel.” (Mark 1:15).
4. The Transfiguration (bottom, right)
“And after six days Jesus took with him Peter and James and John his brother, and led them up a high mountain apart. And he was transfigured before them, and his face shone like the sun, and his garments became white as light.” (Matthew 17:1-2).
FEATURE IMAGE: Upper portion of Central Bronze Door of Sorrowful Mysteries (left) and Glorious Mysteries (right) of the Rosary by Biagio Governali. Shrine of Our Lady of Pompeii in Chicago’s Little Italy.
The exterior doors of the Shrine of Our Lady of Pompeii in Chicago visually narrate the twenty mysteries of the Rosary. These are the Joyful, Sorrowful, Glorious and Luminous mysteries. The faithful can use each door panel as a meditation to pray each decade of the Rosary.
In Europe, most of the complete works of art that have survived undamaged and unrestored from the Middle Ages and Renaissance to today are bronze doors, most of which are in Italy.
Even when the Shrine doors are closed, the sanctuary calls to all passersby to look, ponder, and personally experience the Gospel that these doors present in its fine artwork of the mysteries of the Rosary.
The Central Bronze Door’s Artwork Explained
1. The Agony in the Garden (top, left)
“Then Jesus went with them to a place called Gethsemane, and he said to his disciples, ‘Sit here, while I go yonder and pray.’ And taking with him Peter and the two sons of Zebedee, he began to be sorrowful and troubled. Then he said to them, ‘My soul is very sorrowful, even to death; remain here, and watch with me.’ And going a little farther he fell on his face and prayed, ‘My Father, if it be possible, let this cup pass from me; nevertheless, not as I will, but as you will.'” (Matthew 26:36-39).
2. The Scourging at the Pillar (top, right)
“Pilate released Barabbas to them, but after he had Jesus scourged, he handed him over to be crucified.” (Matthew 27:26).
3. The Crowning With Thorns (center, left)
“Then the soldiers of the governor took Jesus into the praetorium, and they gathered the whole battalion before him. And they stripped him and put a scarlet robe upon him, and plaiting a crown of thorns they put it on his head, and put a reed in his right hand. And kneeling before him they mocked him, saying, ‘Hail, King of the Jews!'” (Matthew 27:27-29).
4. The Carrying of the Cross (center, right)
“And they compelled a passer-by, Simon of Cyrene, who was coming in from the country, the father of Alexander and Rufus, to carry his cross. And they brought him to the place called Golgotha (which means the place of a skull).” (Mark 15:21-22).
5. The Crucifixion and Death of Jesus with Mary and John (center)
“And when they came to the place which is called The Skull, there they crucified him, and the criminals, one on the right and one on the left. And Jesus said, ‘Father, forgive them; for they know not what they do’ …It was now about the sixth hour, and there was darkness over the whole land until the ninth hour, while the sun’s light failed; and the curtain of the temple was torn in two. Then Jesus, crying with a loud voice, said, ‘Father, into thy hands I commit my spirit!’ And having said this he breathed his last” (Luke 23:33-46).
1. The Resurrection of Jesus (center)
“But on the first day of the week, at early dawn, they went to the tomb, taking the spices which they had prepared. And they found the stone rolled away from the tomb, but when they went in they did not find the body. While they were perplexed about this, behold, two men stood by them in dazzling apparel; and as they were frightened and bowed their faces to the ground, the men said to them, ‘Why do you seek the living among the dead? He is not here, but has risen.”‘ (Luke 24:1-5).
2. The Ascension of Our Lord into Heaven (top, left)
“So then the Lord Jesus, after he had spoken to them, was taken up into heaven, and sat down at the right hand of God.” (Mark 16:19).
3. TheHoly Spirit comes upon Mary and the Apostles (top, right)
“When the day of Pentecost had come, they were all together in one place. And suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit and began to speak in other tongues, as the Spirit gave them utterance.” (Acts of the Apostles 2:1-4).
4. TheAssumption of Mary into Heaven (bottom, left)
“Henceforth all generations will call me blessed; for he who is mighty has done great things for me.” (Luke 1:48-49).
5. TheCoronation of Mary as Queen of Heaven (bottom, right)
“And a great portent appeared in heaven, a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars.” (Revelation12:1).
At the bottom of the Sorrowful Mysteries bronze door, the angels hold a tablet emblazoned with Latin text that contains statements on the rosary by two post-Vatican II modern popes. A translation of the text reveals the importance of the rosary to Pope Paul VI (1897-1978) and John Paul II (1920-2005), both canonized saints. Pope Paul VI: “Without contemplation, the Rosary is a body without a soul.” Pope John Paul II: “To meditate on the mysteries of the Rosary is to look into the face of Christ.”
FEATURE IMAGE: Upper portion of West Bronze Door depicting some Joyful Mysteries of the Rosary – The Annunciation (Luke 1:26-38); Visitation (Luke 1: 39-56); and, Nativity (Luke 2:1-20; Matthew 1:18-2:23) – by Biagio Governali. Shrine of Our Lady of Pompeii in Chicago’s Little Italy.
The West Bronze Door, dedicated in 2004, depicts the five Joyful Mysteries of the Rosary at the Shrine of Our Lady of Pompeii (1923), 1224 West Lexington Street in Chicago. Clockwise from top left, the Annunciation (Luke 1:26-38), the Visitation (Luke 1:39-56), the Nativity of Jesus (Luke 2:1-20; Matthew 1:18-2:23), the Presentation of Jesus in the Temple (Luke 2:22-40) and Christ among the Doctors (Finding in the Temple) (Luke 2:41-52). The shrine is the oldest continuous Italian-American Catholic Church in Chicago and is today a place to pray for peace that embraces pilgrims of all faiths.
Our Lady of Pompeii was originally established in Chicago in 1911 as an Italian national parish. The present church building at 1224 West Lexington Street in Chicago’s westside University Village/Little Italy neighborhood was constructed in 1923 and dedicated to Mary, Queen of the Rosary in 1924. The parish began under the Scalabrinian Missionaries, a religious institute founded in Italy in 1887 to aid and serve the Italian immigrants to America.
In 1994 Joseph Cardinal Bernardin proclaimed Our Lady of Pompeii church a Shrine, dedicated to honor Mary, the Mother of God and Queen of the Holy Rosary. Ten years later practically to the day, Francis Cardinal George, O.M.I. dedicated the Shrine’s bronze doors. On that same October day in 2004, Bishop Carlo Liberati, Pontifical Delegate to the Shrine of The Blessed Virgin of The Holy Rosary in Pompeii, Italy, established “a most fervent and fraternal link of communion” between the shrine in Pompeii, Italy, and that of Our Lady of Pompeii in Chicago.
Inspired by the main gate (“Porta del Paradiso”) of the Baptistry of Florence made by Florentine goldsmith and sculptor Lorenzo Ghiberti (1378-1455) between 1425 and 1452 and located in front of Florence’s cathedral, the bronze doors in Chicago were made by Biagio Governali, native of Corleone, Italy. The artist modeled each panel in wax which were then sent to Verona, Italy, to be cast in bronze and polished. These Veronese craftsmen came to Chicago on two occasions to mount and position the doors before they were dedicated and blessed by Cardinal George in 2004.
1. The Annunciation (top, left)
“In the sixth month the angel Gabriel was sent from God to a city of Galilee named Nazareth, to a virgin betrothed to a man whose name was Joseph, of the house of David; and the virgin’s name was Mary.” (Luke 1:26-27).
2. The Visitation (top, right)
“In those days Mary arose and went with haste into the hill country, to a city of Judah, and she entered the house of Zechariah and greeted Elizabeth. And when Elizabeth heard the greeting of Mary, the babe leaped in her womb; and Elizabeth was filled with the Holy Spirit and she exclaimed with a loud cry, ‘Blessed are you among women, and blessed is the fruit of your womb!”‘ (Luke 1:39-42).
3. The Nativity of Jesus (center)
“In those days a decree went out from Caesar Augustus that all the world should be enrolled. This was the first enrolment, when Quirinius was governor of Syria. And all went to be enrolled, each to his own city. And Joseph also went up from Galilee, from the city of Nazareth, to Judea, to the city of David, which is called Bethlehem, because he was of the house and lineage of David, to be enrolled with Mary, his betrothed, who was with child. And while they were there, the time came for her to be delivered. And she gave birth to her first-born son and wrapped him in swaddling clothes, and laid him in a manger, because there was no place for them in the inn.” (Luke 2:1-7).
4. The Presentation in the Temple (bottom, left)
“And at the end of eight days, when he was circumcised, he was called Jesus, the name given by the angel before he was conceived in the womb. And when the time came for their purification according to the law of Moses, they brought him up to Jerusalem to present him to the Lord (as it is written in the law of the Lord, ‘Every male that opens the womb shall be called holy to the Lord’) and to offer a sacrifice according to what is said in the law of the Lord, ‘a pair of turtledoves, or two young pigeons.”‘ (Luke 2:21-24).
5. The Finding of Jesus in the Temple (bottom, right)
“Now his parents went to Jerusalem every year at the feast of the Passover. And when he was twelve years old, they went up according to custom; and when the feast was ended, as they were returning, the boy Jesus stayed behind in Jerusalem. His parents did not know it … After three days they found him in the temple, sitting among the teachers, listening to them and asking them questions; and all who heard him were amazed at his understanding and his answers.” (Luke 2:41-47).
BETWEEN 1870 AND 1930, ART GLASS OF GERMANY AND AUSTRIA COMES TO AMERICA, PARTICULARLY TO CHICAGO’S CHURCHES
The colorful stained-glass windows in Saints Peter and Paul Catholic Church in Naperville, Illinois, a western suburb of Chicago, were ordered, produced, and installed towards the end of a 60-year-long run for the predominance of German and Austrian-made stained glass found in heritage Chicagoland churches today.
With only a couple of exceptions, the stained glass in Naperville’s historically pioneer and, later, German Catholic parish church was created in the mid1920s in Innsbruck, Austria. Innsbruck at the time was one of the European centers of stained-glass making. It is about 100 miles south of Munich, Germany, the home base of two other popular and well-regarded stained-glass studios – that of Franz Mayer & Company and F.X Zettler Company. These art glass manufacturers notably filled many Chicagoland Catholic churches starting in the 1870s. After the Great Chicago Fire in 1871, a building and population boom commenced in the city and its surrounding communities that went on for over a century unabated. In addition, from the 1870s to the 1920s, Chicago became the most influential center of Catholic culture in the United States.1
It was a unique period of history for Catholic churches in America whose state-of-the-art church design usually included brightly colored art (stained) glass windows. These windows often displayed action-packed scenes from the Bible, including episodes from the life of Christ, His Blessed Mother, or a patron saint.
This continuous appeal over multiple generations for the purchases of vast orders of Munich and Austrian style glass in U.S. Catholic churches declined greatly starting in the 1930’s with the onset of the Great Depression. The European traditional glass market did not recover its former popularity making its stained-glass windows from 1870 to 1930 in Chicagoland churches – including Saints Peter and Paul Church in Naperville – increasingly rare and valuable to preserve and appreciate.
Stained glass made by Tyrol Art Glass Company of Innsbruck, Austria, and Franz Mayer and F.X. Zettler of Munich, Germany, was characterized by its traditional painted stained glass. This style fit into the traditional-style church architecture that Catholic parishes, such as Saints Peter and Paul in Naperville, and many others, built between 1870 and 1930. By the mid20th century these European traditional glass makers faced competition from the rise of American glass manufacturers such as Louis Comfort Tiffany (1848-1933) which extended to quality, price, and style. Tiffany stained glass which frequently incorporated natural scenery elements, contained intricately cut opaque and opalescent glass, overlaid with wide varieties in thickness. This product became better fitted into modern worship spaces which were often smaller. Such modern art and architectural trends worked to displace traditional glass made in Europe used for grandiose classically styled houses of worship that were from an earlier historical period.
In the late 19th century, Tyrol Art Glass Company of Innsbruck, Austria, with the Munich studios of Franz Mayer and F.X. Zettler, began to send representatives to sell their new patterns for churches in Chicago and around the United States. These three studios often worked together and their style is basically interchangeable. In Saints Peter and Paul Church – as well as many other churches with classically-styled architecture – traditional painted stained glass was the stand-out choice, It is usually very colorful whose iconography often depicts highly recognizable religious, often biblical, scenes and religious symbolism. This is definitely the situation with the beautiful stained-glass windows of Saints Peter and Paul in Naperville, including the Ascension of Jesus into Heaven and the Assumption of Mary into Heaven windows.
HOW SAINTS PETER AND PAUL CATHOLIC CHURCH GOT STARTED AND GREW IN NAPERVILLE, ILLINOIS
Naperville, Illinois, a western suburb of Chicago, was founded in 1831 – the oldest town in DuPage County.2With its origins as a mixed settlement of Easterners and Hoosiers, Naperville’s strong religious character was established starting in the 1830s.3 Today it boasts a population of around 150,000 and is one of Illinois’s largest cities. The downtown area is bustling with shops and motor vehicle and foot traffic, yet Naperville’s 19th century origins can still be found in and around the DuPage River with its River Walk and its Historic District that maintain much of the suburb’s original charm and historic significance.
Saints Peter and Paul Catholic Church in Naperville was founded in 1846 and is the oldest continuously operating Catholic parish in DuPage County. The county was established in 1839 with Naperville originally as the county seat. This changed in 1867 when, by county referendum, Wheaton became the county seat which it remains today. Naperville’s first religious institutions were the East Branch Settlement, Congregationalist, Evangelical, and Baptist churches. These churches were all established in Naperville between 1833 and 1843.4
The Catholic parish was originally founded as a mission of the Joliet Catholic Church – Joliet, Illinois, about 20 miles to the south of Naperville is its Diocese headquarters today. In the 1840s, when Illinois was the edge of the frontier, a priest traveled the rigorous 20-mile journey – Naperville did not get a railroad for another 30 years (1864) – once a month to say mass in pioneers’ homes. The first church, named St. Raphael’s for Fr. Raphael Rainaldi, the first pastor, was a small frame structure with a lean-to across the street from today’s church building. In the 1840s the church served about 25 families – 175 years later it serves 4,000 families.5
The first official act at Saints Peter and Paul Church was a festive event – the wedding of Mr. Robert Le Beau to Miss Emily Beaubien, recorded on Tuesday, September 8, 1846. The parish also purchased an acre of land for a cemetery.
In 1852 the church was enlarged by a frame addition and Fr. Charles Zuker established a parish school in the lean-to with a lay headmaster. In 1855 the first school building was built. By 1864 the first frame church building was used for school purposes as the cornerstone was laid for a new stone church on the site of the present church building. By this time the parish was renamed to Saints Peter & Paul by Fr. Peter Fisher and the parish had grown to about 250 families. The stone had been obtained locally from the parish’s own quarry along the DuPage River. The new stone church building was dedicated in 1866 and the school now served around 100 students.6
Continual improvements were made to the parish church and grounds in the 1870s and 1880s so that by the start of the 1890s, following Naperville’s incorporation as a city, the parish launched significant building projects. In 1892, a year where it rained almost all that spring, a new brick school building for the parish’s 200 students was built that cost $30,000. Saints Peter and Paul also built a new rectory in anticipation of the new century.
In the 1880’s Naperville, illinois, like much of the rest of the country, expanded its industrial base, grew its city services, such as the fire department and city hall, and established new utilities including the first public telephone service.
With its new wealth generated by industry, Naperville built some of its first impressive homes. Shops and stores were established to service them. While agrarian in flavor, by the end of the 1880’s and into the early 1890s Naperville was already a bustling, modern, forward-thinking city. In 1893 Naperville hosted its first “Bicycle Parade” – a big public affair whose purpose was to “show our citizens the increased interest lately in this comparatively new mode of locomotion.”
In the 1890s the area that included Saints Peter and Paul Church, other denominational churches, and Northwestern College (renamed North Central College in 1926) affiliated with the United Methodist Church, came to be known around town as “Piety Corners.”
With the appearance of the first cars in the 1900s, Naperville was well on its way to an era of accelerated expansion and growth that continues in the 21st century.7
In 1911 the school was badly damaged by fire. When a new school opened the next year, 250 students were enrolled.9
In the 1920’s Naperville boasted around 5,000 residents. In June 1922 (sources vary whether it was on June 4 or June 8) the old stone church quarried from the parish’s own quarry and dedicated in 1866 was destroyed by an arsonist’s fire. By this time, the parish’s 350 Naperville families were from mostly German-speaking countries in Europe. Naperville’s quarries had brought waves of German immigrants to the city since the 1850’s since they knew how to mine and cut stone. After the devastating 1922 fire, the parish chose to rebuild their church in a magnificent red brick traditional cruciform-shape. It was dedicated on Sunday, September 25, 1927. The half German, half Irish Cardinal-Archbishop of Chicago, George Mundelein (1872-1939), participated in the dedication ceremony. This remains the church building that exists today and which contains its lovely and historically significant stained glass from Innsbruck, Austria. In 1927 the cost of the church building was $407,785 – or about $6.5 million today.10
WHO WERE SAINTS PETER AND PAUL?
St. Peter is the Rock, or “Cephas,” of Jesus Christ’s church. In Matthew 16 Jesus tells Simon, son of John, brother to Andrew the apostle and a married fisherman by trade: “I say to you, you are Peter, and upon this rock I will build my church, and the gates of the netherworld shall not prevail against it. I will give you the keys to the kingdom of heaven. Whatever you bind on earth shall be bound in heaven; and whatever you loose on earth shall be loosed in heaven” (Mt 16: 18-19). Peter denied Christ three times before the crucifixion that is described in all four New Testament Gospels.
After Jesus Christ’s Resurrection (Mark 16, Matthew 28, Luke 24, Acts 1, John 20 and 1 Corinthians 15) and Ascension into Heaven (Luke 24:50. Acts 1, John 3:13, John 6:62, John 20:17, Romans 8:34, Ephesians 1:19-20, Colossians 3:1, Philippians 2:9-11, 1 Timothy 3:16, and 1 Peter 3:21-22) and following the events of Pentecost (Acts 2), Peter led an important life as a Christian evangelist and Church leader.
Though St. Paul’s pastoral heritage in his 13 letters were highly influential for the early church where he writes on church structure, the theology of the Body of Christ, and the nature of the Holy Spirit, St. Peter also has an epistemological heritage which explores the People of God.11These best-known apostles also both died in the 60s. For the rest of that critical first century of Christianity – until when John’s Gospel was written in the 90s – the churches had to go without two of its greatest authoritative figures who had seen the risen Jesus.
St. Peter was martyred by crucifixion in 64 A.D. in Rome. He requested he be crucified upside down on an x-shaped cross, as witness to the apostle’s prolonged sorrow over his denial of Christ. On the church calendar, St. Peter’s feasts are June 29 and February 22.
St. Paul is one of Church history’s most significant figures. As Saul of Tarsus, the scholar, rabbi, and Roman citizen, zealously persecuted the first Christians and was personally present at the stoning of the first Christian martyr, Stephen (Acts 7: 54-60). On the road to Damascus making “murderous threats” towards Christians (Acts 9:1), Paul encounters the risen Jesus. The passage reads: “Suddenly a light from heaven flashed around him. He fell to the ground and heard a voice say to him, “Saul, Saul, why do you persecute me?” “Who are you, Lord?” Saul asked. “I am Jesus, whom you are persecuting,” he replied. “Now get up and go into the city, and you will be told what you must do.” (Acts 9:4-6).
The jolting event changed Paul’s life and outlook. More than anyone else in the Church’s first years, Paul realized Christianity’s universal message. Paul’s letters to various Christian communities in Corinth, Ephesus, and Rome, show him to be a solicitous and sometimes stern and exhorting pastor who had a deeply personal spiritual experience of the Lord. About half of the books of the New Testament are Paul’s writings that express his profound openness to humanity and its cultures which made him “Apostle of the Gentiles” and “Teacher of the Nations.”
Paul was martyred somewhere between 64 and 68 A. D. The circumstances of his death are not entirely known, although early Christian writers related that Paul was beheaded. St. Paul shares a feast with St. Peter on June 29.
The Ascension of Jesus into Heaven.
The Ascension of Jesus is recounted twice in the New Testament – and both times by Luke the Evangelist. One account is in his Gospel (Luke 24:50-53) and a second is in his Book of Acts of the Apostles (Acts 1: 6-12).
One important difference in the accounts is that in Acts Luke mentions the appearance of Jesus for 40 days after the Resurrection until His Ascension. While it sets a time limit on Jesus’s appearances, it presents His sustained manifold appearances after the Resurrection to the apostles. It also situates the apostles and Christian community into salvation history’s imagery of Israel’s covenant.12Luke’s tradition likely would not have separated the Resurrection and Ascension events in time except for the clarity of a narrative purpose.13
The account of the Ascension in Acts 1:6-12 reads:
6 ”When they had gathered together they asked him, “Lord, are you at this time going to restore the kingdom to Israel?”
7 He answered them: “It is not for you to know the times or seasons that the Father has established by his own authority.
8 But you will receive power when the Holy Spirit comes upon you, and you will be my witnesses in Jerusalem, throughout Judea and Samaria, and to the ends of the earth.”
9 When he had said this, as they were looking on, he was lifted up, and a cloud took him from their sight.
10 While they were looking intently at the sky as he was going, suddenly two men dressed in white garments stood beside them.
11 They said, “Men of Galilee, why are you standing there looking at the sky? This Jesus who has been taken up from you into heaven will return in the same way as you have seen him going into heaven.”j
12 Then they returned to Jerusalem from the mount called Olivet, which is near Jerusalem, a sabbath day’s journey away. (New American Bible)
As Jesus rose from the dead it is clear to the disciples that he is the Messiah so their question as to when he will restore political self-rule to Israel is not illogical although Jesus was never a political leader in his historical ministry. Luke is writing his Gospel and Acts as a faith document for future Christians, so that Jesus‘s reply to their question about the kingdom of God’s ultimate temporal nature is indeterminate. In the next verses (7 and 8) Jesus tells them that the Second Coming (“Parousia”) is not a question for them to be asking God. Rather, it is important for them to bear witness to Him by ways of the power of the Holy Spirit for whom they should wait. Finally, as Jerusalem was the place of Jesus’s Passion, Death and Resurrection, the Holy City is where the Christians will start their mission that will reach to the ends of the earth.14
Another important detail Luke includes in Acts is that when Jesus is lifted up into heaven a cloud has intervened to take him from the apostles’ sight. St. Luke’s cloud imagery was used later in writings and reflections by the Christian mystics (i.e., The Cloud of Unknowing). Further, the Ascension takes place on Mount Olivet, which had eschatological or end times allusions. After Jesus is lifted up two figures appear in dazzling garments signaling the angelic presence as appeared at the Resurrection (Luke 24:4-7). The cloud image Luke uses is also linked to end times (Luke 21:27) or parousia – in that Jesus taken up in the Ascension “will come (again) in the same way that you saw him going.” (Acts1:11).
In the Ascension of Christ into Heaven window, Christ is surrounded by a band of clouds and yet remains in a golden area representing the fiery light of God. Christ wears a multi-colored robe – red representing his death by crucifixion; purple representing his Divinity; and white representing martyrdom emblazoned with four-lobed crosses representing the four Gospels or the four corners of the earth.
Christ’s halo is elaborated in three parts. There are usually three Greek letters found in Christ’s cruciform halo that in translation spell out “He Who is” or “ I Am Who Am.” These are absent, however, in this stained-glass window’s cruciform halo.
Hierarchy of angels
There are eight angels in the window representing the hierarchy of angels. The baby heads of the cherubim – the lowest tier of angels – are accompanied by seraphim, the highest order of angels. Their name “archangel” literally means “chief angel.” Traditionally these highest order of angels are warlike in appearance and bear a sword, This is especially the case with the iconography of St. Michael the Archangel who leads God’s angels in battle to cast Satan and his angels out of heaven as told in the New Testament Book of Revelation.
The seraphim in this stained-glass depiction, however, carry palm branches in place of swords. In the years following World War I when this stained glass was made, the Austrian art glass manufacturer may have sought to symbolize angelic power by ways of symbols of peace. The fact that the range of angels from lowest to highest is present in the window appears to signal the presence of the whole choir of angels present at the Ascension of Jesus into heaven.15
Depicted at the bottom of the window is Mary and the 12 apostles. This was not precisely accurate to the New Testament for at the Ascension there were only 11 apostles. However, the replacement of Judas by Matthias took place almost immediately following the Ascension narrative (Acts of the Apostles 1:21–26).
In the center of the window at the bottom between Mary and a kneeling apostle with his right arm stretched out is an interesting detail. It is the outline of Christ’s feet showing where his resurrected body stood and was lifted directly from earth into heaven. This is significant beyond a souvenir of Jesus’s earthly memory, in that Mount Olivet from which the resurrected Jesus was lifted into heaven is exact the place to which “the Son of Man coming in a cloud with power and great glory” (Luke 21:27) will return at the end of the world. In that way, the window is a depiction of the Ascension and one that points to the Second Coming of Christ.
Each of the apostle’s halos are unique. Mary’s halo has 12 stars as she is often pictured with a circle of stars. The Zodiac is an ancient circle of stars where some are symbolically combined into 12-star signs or constellations.
Jesus’ Ascension – his going “up” to heaven – is the same imagery used for the Assumption of Mary. It is figurative to express the spiritual. The biblical heaven is mysterious. It is the intimate reserve of God and as God is pure spirit (John 4:24), the question arises, how does Heaven incorporate the resurrected fleshly body of Christ at His Ascension?
It is explained starting with the Incarnation at the Annunciation to Mary (Luke 1:26-38) where the divine humanity of Jesus, the Word who was “with God, and…was God (John 1:1) begins. In the Ascension, the Person of Christ is fulfilled where the “new, saved man” enters heaven into the intimacy of the Father, and becomes the perfect God-Man. As “God is love” (I John 4:16), the manner of being of the body in Christ in heaven, the perfect God-man, is love.16
The Ascension is followed by Pentecost when the Apostles receive the Holy Spirit from Heaven and will speak thereafter of “Christ (in Heaven) in us.”
The upper rondelle represents Christ the King. Christ’s crown obscures his elaborate three-part halo. The Greek letters on either side represent the “alpha” (“the beginning”) and the “omega” (“the ending”) which indicates Christ’s Godhead. Christ the King holds in his hands the symbols of the sacrament of the Holy Eucharist in the consecration of the Mass. in his right hand is the species of bread and wine that become the Body and Blood of Christ and in his left hand is the wood beam of the cross whose sacrifice on Calvary the Eucharist memorializes. Christ the King also reveals his Sacred Heart – a popular Catholic devotion- inside his chest. His heart is depicted as aflame encircled by a crown of thorns signifying his agape (or sacrificial) love. The entire Ascension window was the gift of Mr. and Mrs. William David Callender, parish members in the mid1920s.
In the New Testament, the Woman of the Apocalypse and the battle of St. Michael the Archangel against the Dragon are bound together in the same dramatic narrative in the Book of Revelation (Rev.12:1-9). The Woman with a crown of 12 stars who is against the Dragon in the Book of Revelation has been identified with Mary, particularly as the Immaculate Conception. This is how Mary is depicted in the Ascension of Christ into Heaven window at Sts. Peter and Paul.
The New Testament passage setting out these images is in Revelation 12:1-9:
1 A great sign appeared in the sky, a womanclothed with the sun, with the moon under her feet, and on her head a crown of twelve stars.
2 She was with child and wailed aloud in pain as she labored to give birth.
3 Then another sign appeared in the sky; it was a huge red dragon, with seven heads and ten horns, and on its heads were seven diadems.
4 Its tail swept away a third of the stars in the sky and hurled them down to the earth. Then the dragon stood before the woman about to give birth, to devour her child when she gave birth.
5 She gave birth to a son, a male child, destined to rule all the nations with an iron rod. Her child was caught up to God and his throne.
6 The woman herself fled into the desert where she had a place prepared by God, that there she might be taken care of for twelve hundred and sixty days.
7 Then war broke out in heaven; Michaeland his angels battled against the dragon. The dragon and its angels fought back,
8 but they did not prevail and there was no longer any place for them in heaven.
9 The huge dragon, the ancient serpent,who is called the Devil and Satan, who deceived the whole world, was thrown down to earth, and its angels were thrown down with it.
EXPLANATION OF IMAGERY IN THE NARRATIVE OF REVELATION 12-14
About the middle of the Book of Revelation (Chapters 12-14), the author portrays the power of evil as represented by the figure of the Dragon who is opposed to God and his people. This Dragon pursues the woman about to give birth to devour the child but the child is born. Then St. Michael and his angels expel the Dragon and the Dragon’s angels out of heaven (Rev. 12:5-9). Adorned with the Old Testament images of sun, moon, and stars (Genesis 37:9-10), the woman symbolizes God’s people. As Israel gave birth to the Messiah (Rev.12:5) and the church suffers persecution by the Dragon (Rev 12: 6, 13-17), the Woman corresponds to an archetype of a pregnant goddess bearing a savior who is pursued by a monster looking to destroy the offspring. But her offspring, a son, in his turn, destroys the monster.
The huge red Dragon is a symbol of the forces of evil – the Devil or Satan (Rev. 12:9, 20:2), or the mythical Leviathan (Ps, 74:13-14) or Rahab (Job 26:12-13; Ps 89:11). It is also the ancient serpent who seduced Eve, the mother of the whole world (Gen 3:1-6).17
The Assumption of Mary into Heaven.
There is no mention of the Assumption of Mary into Heaven in the New Testament. There are biblical texts used frequently to point to the doctrine whose imagery is related to the Ascension of Christ into Heaven.
The Assumption of Mary intheology is the doctrine that Mary as Theotokos, or Mother of God, was taken (“Assumed”) into heaven, body and soul, at the moment, or what would be the moment, of her death. This phenomenon is not unprecedented in the Bible. It occurred in the Old Testament to Moses and Elijah who were pivotally important as Old Testament figures and who were present at Christ’s Transfiguration in the New Testament (Matt 17:1-9; Mk 9:2-10: Lk 9:28-36; and 2 Peter 1:16-21).
There has been debate whether Mary was assumed into heaven at death or after death – that is, whether Mary, the Mother of the Savior, experienced death at all. It is a debate not resolved even with the doctrine of the Mary’s Assumption into Heaven declared a dogma of the faith by Pope Pius XII (1876-1958) on November 1, 1950 in the apostolic constitution Munificentissimus Deus.
What is depicted in the window is biblical in the sense that it is the dogmatic theology deduced from it. The Assumption as a theme in Christian art originated in western Europe during the late Middle Ages—starting in the 12th and 13th centuries – a period when devotion to the Virgin Mary was growing in importance. It would be renewed vigorously again in the 16th century during the Protestant Reformation. Before this Renaissance and Reformation period, Mary is represented surrounded by a mandorla, or almond-shaped aureole. But starting in the 16th century the mandorla was replaced by a cluster of clouds as depicted in the window.
The window depicts Mary standing upon a brightly-lit crescent moon reflected in imagery from Revelation 12.
Mary wears a blue cloak with a red shirt underneath as seen in the stained glass window by her right arm’s sleeve. The blue of her cloak is interpreted to represent the Virgin’s purity, symbolize the cosmos, and identify Mary as a Queen as blue was associated with royalty.
The red garment color signifies traits connected with motherhood as well as Mary’s presence on Calvary at her son’s crucifixion, particularly her traits of love and devotion.
These symbolic colors Mary wears expresses a universal definition of motherhood for her.
The Virgin Mary is mother to Jesus which expands to the whole of humanity. On Calvary, standing by the cross of Jesus were three Marys – Mary, his mother, Mary, the wife of Clopas, and Mary of Magdala. From the cross, Jesus said in John 19:
26 When Jesus saw his mother and the disciple there whom he loved, he said to his mother, “Woman, behold, your son.”
27 Then he said to the disciple, “Behold, your mother.” And from that hour the disciple took her into his home. (New American Bible)
Mary wears a white robe representing her purity. Her halo has seven eight-pointed stars. In numerology the number 7 represents “perfection” and the number 8 represents “regeneration or rebirth.”
There are 12 angels, some carrying palms representing peace and victory, others carry lilies representing Mary’s virginity. Angels wear laurels of hyacinths (prudence, peace, and desire for heaven) and of roses (heavenly joy). Another angel holds out a bouquet of thornless roses signifying purity and the triumph of love. Mary will be crowned Queen of Heaven and the angels hold her crown.
God the Father wears a triangular halo as He blesses the scene. The Holy Spirit in the symbol of the dove emanates.18
Jacob Watts is a photographer and visual storyteller based in Chicago, Illinois. A graduate of Oswego (Illinois) High School (class of 2008), Watts received his B.F.A. from Columbia College Chicago in 2012. The photo-illustration of a moose blowing bubblegum hangs on a blue wall in the South Loop of Downtown Chicago at a size of 48′ by 43′.
Jacob Watts has been passionate about the medium of photography since before he was a teenager. From the start of his interest in photography, Watts was wholly intrigued by Photoshop. Today the artist creates illustrative and conceptual images with an emphasis on post production. Most of Watts’ work consists of graphic, imaginative, surreal, and composited works from his own images. His current headline work includes images in areas entitled Strangers, Recovery: Movie Posters, Some Time Alone. Portraits, Hvrbrd, Motion, Conceptual, Things are Strange, and Building A Universe.
According to the artist’s website, he is passionate about collaboration and finding creative solutions to exceed expectations. Watts is represented by Catherine Edelman Gallery in Chicago.
In the spring of 2014, Columbia College Chicago’s Wabash Avenue Corridor (WAC) Campus Committee launched a student and alumni competition to install artwork in the heart of the South Loop. Watts’ Moose Bubblegum Bubble was selected as one of the winners.
The scores of educational and cultural projects and programs that WAC advances strengthen the ties between students, artists, curators, academic institutions, cultural organizations and local businesses. Artists and curators from around the world have participated in WAC projects and programs to create murals, performance, installations, actions and large-scale projections that are always free of charge and open to the public.
This public arts program brings together the visual, performing, and other arts and media which are expansive, diverse and accessible so to provide a transformative experience to the many tens of thousands of urbanites who live, work and play in the city on a daily basis.
Starting in 2016 WAC began a focus of diversity, equity and inclusion, and developed one of the largest street art and public art collections of women artists and artists of color. This effort continues in 2021.
Ruth Aizuss Migdal was born in Chicago. The artist was educated at the School of the Art Institute of Chicago (B.F.A.) and the University of Illinois at Urbana (M.F.A). Migdal was awarded an honorary doctorate from U of I, her alma mater, in 2019. Classically educated and trained in painting and printmaking, initially she created abstract paintings. Migdal turned to sculpture where, in 1971, she began exploring the female figure.
Her towering sculptures begin as a maquette and, then, as a wax mold, they are each pieced together section by section. Today the artist continues her work in bronze and steel, creating large abstracted figurative sculptures that have been installed in popular locations throughout Chicago and around the United States.
Here is a 14-foot-tall public sculpture, painted a shining bright red, that depicts a dancing female figure on the runway and poised for flight. Standing in Chicago’s Lincoln Park Zoo next to the Chilean pink flamingos pond, Migdal’s sensuous, voluptuous, and muscular female dancer sculpture (and others like it) are constructed and deconstructed with multiple body parts. It exemplifies a spirit of joyfulness, independence, and perseverance. Further, the artwork is an expression of strength and a lust for life.
Here is one of the major examples of Migdal’s red dancing figures – another, entitled Whirling Dervish is in Chicago’s Douglas Park. La Diva III at 2650 N. Clark Street in Chicago was Migdal’s first monumental red painted sculpture installed in a public space. The photograph is from May 2015.
Here is installed in Lincoln Park Zoo. Founded in 1868, Lincoln Park Zoo is one of the most historic zoos in North America (fourth oldest) and one of the only free admission zoos in the country. It attracts over 3.6 million visitors annually.
FEATURE image: Muddy Waters, King of the Chicago Blues, by Brazilian artist Eduardo Kobra in a photograph taken in May 2021. The 10-story mural tribute was painted in 2017 and is located on State Street in Downtown Chicago.
This 100-foot-tall (10 stories) mural of legendary Chicago blues musician Muddy Waters (1913-1983) was dedicated in June 2017 on the north wall of the 19-story Stevens Building at 17 N. State Street in Downtown Chicago.
Painted by Brazilian street artist Eduardo Kobra (b. 1975), it took over two weeks to paint it. The new mural covered over a big, yellow “Go Do Good” painting. The Stevens Building itself is a notable early skyscraper on the east side of State Street near its intersection with Washington Street. When it was built in 1912 by Daniel H. Burnham (1846-1912), it was one of the most modern business structures In Chicago and filled with retail shops. The Charles A. Stevens & Bros. building is nineteen stories above ground and three below,
The colorful portrait mural of Muddy Waters is part of a campaign to beautify the walls of some tall buildings in Chicago as well as to mark the significance of Black music in Chicago. Specifically, Eduardo Kobra’s mural is a tribute to the legacy of Muddy Waters in the Chicago blues music scene. Among Muddy Waters’ many titles and accolades, he may be perhaps best known as the “King of Chicago Blues.”
Growing up in Mississippi, Muddy Waters was first exposed to music at the local Baptist church. During World War II, when Muddy Waters was still in his 20’s, he moved from Mississippi to Chicago. He came to Chicago because he wanted to be a professional musician and Chicago since the 1920’s had been a center for jazz and blues music production.
In 1951 when Muddy Waters recorded his song “Still A Fool” at newly-founded Chess Records on the southside of Chicago, he started the next decade making several blues classics. In 1951, the Chess brothers, Leonard and Phil, both around Waters’ age, wanted the new blues musician to record using the new label’s professional musicians instead of Waters’ own band.
By September 1953 Waters was recording with his own band which became one of the most acclaimed blues bands in history. It included Little Walter Jacobs (1930-1968), a Blues Hall of Fame and Rock and Roll Hall of Fame harmonica virtuoso; Jimmy Rogers (1924-1997), a Blues Hall of Fame musician on guitar who, with Little Walter and Muddy Waters, helped define the Chicago Blues sound; rural blues legend Elga Speed Edmonds (1909-1966) on drums; distinctive keyboard stylist and Blues Hall of Fame inductee Otis Spann (1930-1970) on piano—and, at times on bass, Willie Dixon (1915-1992), Grammy Award winner, and inductee in the Blues, Rock and Roll, and Songwriters Halls of Fame. The clarity of the clip of Muddy Waters’ electric guitar and his gravelly voice, deep and wide, were also distinctive features in a career that spanned 50 years and included 11 Grammy Award nominations with 6 wins.
In June 2017 at the dedication of the mural at the busy intersection of State and Washington Streets in the heart of downtown Chicago’s business/shopping districts, Muddy Waters’ family was in attendance. Of Muddy Waters’ legacy, born in Mississippi and living and working in Chicagoland since the 1940’s, Rolling Stone wrote: “With him the blues came up from the Delta and went electric.”
As a kinetic (movement) artist, Mangold’s sculptures explore concepts of space and motion.
In 1962, Mangold began his Anemotive series of spherical, wind-propelled kinetic sculptures. As with this work, Anemotive Kinetic, the anemotives are characterized by cup-like shapes mounted on arms which allow for motion in nature.
The 20-foot painted aluminum sculpture in a fountain setting stands near the entrance of the Nicholas Conservatory & Gardens along the Rock River in Rockford, Illinois.
The Conservatory opened in October 2011 and offers a main exhibition house, greenhouses, classrooms, a roof garden, a lagoon, walking trails, outdoor gardens, and more.
Jerry Peart is a Chicago-based artist who, according to his website https://www.sedgwickstudiochicago.com/jerry-peart, has created over 35 large-scale public sculptures. The artist created Wildflower in part because he was inspired by this place in the Midwest dedicated to all things clean and green.
Chicago’s “Picasso” in today’s downtown Daley Plaza was officially unveiled on Tuesday, August 15, 1967 at 12 noon.
Weeks before the public event excitement (and some dread) swirled among Chicagoans and others as to what Pablo Picasso’s monumental outdoor sculpture would be like.
In the photograph on the wall, Mayor Daley and others pull the cord on August 15, 1967 unveiling Chicago’s iconic Picasso.
The famous Basque artist was first approached by Chicago leaders in May 1963. This encounter led more than four years later to the Cor-Ten steel sculpture’s installation and unveiling on a beautiful Tuesday summer’s afternoon in the Chicago Civic Center Plaza. Many in the crowd of thousands who had gathered to witness the historic event gasped and jeered at the modernist art work when the fabric cover was taken off. Local newspaperman Mike Royko wrote in The Daily News that the art work looked like a “giant insect.” Photo Credit: “Picasso in Chicago” by Emily Barney is licensed under CC BY-NC 2.0
Chicago’s Picasso in Daley Plaza. Author’s photo (October 2011).
Chicago’s first major public outdoor sculpture started a long term national trend to display massive outdoor contemporary art for the public
The now-iconic Picasso unveiled in 1967 is credited with being the first public outdoor sculpture installed in Chicago that put Chicago on the map as one of America’s first major cities to display massive outdoor contemporary art for the public.
In 1958 there was an untitled art work by Richard Lippold (1915-2002) constructed in the lobby of the Inland Steel Building (1954-58) by Skidmore, Owings & Merrill in downtown Chicago. It is four blocks from City Hall and the new Civic Center Plaza that the same architectural firm was helping to design and build in the early 1960’s.
Untitled (known today as The Radiant One), Richard Lippold, commissioned in 1957, Inland Steel Building, Chicago. Author’s photo (December 2017).
This was followed in 1964 by a large modernist work unveiled at the University of Chicago Law School entitled, Construction in Space and in the Third and Fourth Dimensions. It was made in 1959 by Russian Constructionist Antoine Pevsner (1886-1962).
The reputation and fame of Pablo Picasso (1881-1973) in 1967 helped catapult the idea and cultural practice of the installation of modern art, often monumental, in high-profile public spaces across the country, and starting in large measure, in Chicago.
In the following years and decades installation of public art that had broadened beyond the commemorative extended to established artists, many with international reputations, as well as more recent and sometimes emerging artists. In 2021, one online list of public art on campus at the University of Chicago demonstrates its extensive practice that was largely ushered in with Chicago’s Picasso (Ira J. Bach and Mary Lackritz Gray, A Guide to Chicago’s Public Sculpture, University of Chicago Press, 1983, p. xiii; https://arts.uchicago.edu/public-art-campus/public-art-campus#Antoine_Pevsner – retrieved June 9, 2021).
Since before the mid-20th century, public art in America has been often characterized by Modernism (i.e., MoMA’s modernist sculpture garden dated from the 1940’s). Modernism began as a cultural rebellion against prevailing classical-romantic art work. Until around Rodin’s Balzac in 1898, art work in the classical and romantic style filled parks and plazas throughout the 19th century and afterwards that memorialized people, places, and events. Modernists identified the classical-romantic style as old, trite, exhausted, and artistically bankrupt in rapidly changing times. Instead, Modernism offered artistic forms and creative responses that met and expressed an increasingly global and machine age – and not by grand depictions and tired motifs of old Romans standing (or lying) on privileged porticos in togas (i.e., Thomas Couture (1815-1879) Romans during the Decadence, 1847, oil on canvas, Musée d’Orsay).
Thomas Couture (1815-1879), Romans during the Decadence, 1847, oil on canvas, Musée d’Orsay. Starting no later than 1900, contemporary society was increasingly artistically influenced by Modernism. Characterized by the rejection of centuries-old literary and historical subjects and forms, it turned to abstraction and imaginative artistic responses as more fitting expression for a rapidly changing modern society.
Pablo Picasso had dominated the modern art scene for most of the 20th century, starting and particularly as the innovator of Cubism with French painter Georges Braque (1882-1963). Picasso was one of several artists who, as Harper’s Bazaar observed about the magazine’s engagement with modern artists, “broke new ground, challenged established thinking, and signaled seismic shifts in the culture” (Harper’s Bazaar, March 2021, p. 236).
Pablo Picasso, Three Women, 1908, oil on canvas, 200x 178 cm, The Hermitage Museum, St. Petersburg, Russia.
Picasso, Student with a pipe, Paris, 1913, Oil, gouache, cut-and-pasted paper, gesso, sand, and charcoal on canvas, 28 ¾ x 23 1/8 inches, The Museum of Modern Art, New York.
Chicago’s Picasso in Daley Plaza from the side looking to the southeast. Author’s photo (July 2015).
On a representational level, a woman’s facial profile (eye, nose, lips, chin) followed by two “wings” of flowing hair, and rounded shoulders are in plain sight. Yet other interpretations for the sculpture are also reasonably feasible. For example, from the back, are the top symmetrical curves of the wings reflective of the curves of a woman’s buttocks with legs constituting the rest? Are the cut-out shapes like a head and neck in this context possibly a phallus? Picasso famously did many pieces of art that were highly sexualized. In 1932 Pablo Picasso produced an entire series of what would become iconic paintings of Marie-Thérèse Walter, his young, blonde-haired mistress, in the most lascivious and sensual positions imaginable. Picasso’s Minotaur and Wounded Horse is one example of it produced in Boisgeloup (outside Paris) on April 17, 1935 and today in the permanent collection of The Art Institute of Chicago. (See – https://johnpwalshblog.com/2013/05/15/picasso-and-chicago-the-show-may-be-over-but-its-best-parts-stay-on-display-its-called-the-art-institute-of-chicagos-permanent-collection/).
Picasso narrowed the central plane of the head toward the top, and indicated its slight tilt backward. Using Student with Pipe as a guide, what is usually interpreted as flowing hair past a woman’s head and body, these immense curved symmetrical “wings” in Chicago’s Picasso may be conceived as the shadow or shadows of a head and body. If the rods are not representative of something specific – i.e., guitar strings – but, as Picasso alluded in the LOOK interview of November 1967, an aesthetical connection, then this interpretation of a figural foreground and shadowed background that makes for a sculptural whole is also feasible.
The Chicago sculpture’s circular eyes and long flat nose are typical of Picasso heads of the 1913-1914 period which were translations of the features of African, specifically Wobé, masks. Picasso used their economy and schema to transform them into his personal and whimsical art work. (William Rubin, Picasso in the Collection of the Museum of Modern Art, MoMA, New York, 1972, pp. 88-89).
Chicago’s Picasso in Daley Plaza, Author’s photo. (December 2017).
Mask (Kifwebe), Songye, late 19th or early 20th century. Wood, pigment, 12 x 7 1/8 x 6 1/8 in. (30.5 x 18.1 x 15.6 cm). Brooklyn Museum. The object is a female mask with projecting mouth, triangular nose, pierced eyes, overall concentric linear carving, and polychrome pigment.
The mask type that was shared by other African societies is characterized by angular and thrusting forms, and the entire face is covered in unique patterns of geometric grooves. Female masks, such as this one, are distinguished by the predominant use of white clay and, in a feature shared by Chicago’s Picasso, the rounded form of the head crest. (See – https://www.brooklynmuseum.org/opencollection/objects/169088– retrieved June 9, 2021).
Picasso was 72 years old and Jacqueline Roque was 26 years old when they met in 1953. Picasso’s first wife, Olga Khokhlova, died in 1955. Picasso romanced Jacqueline until she agreed to date him and they married in 1961. During their courtship and marriage of 20 years, Picasso created over 400 portraits of Jacqueline, more than any of his other muses.
Picasso’s widow, Jacqueline Roque Picasso (1927-1986), gave her portrait to the president of Iceland and the bust was consigned in 1988 to the National Gallery of Iceland. A more realistic figure, Picasso’s slightly earlier art work evokes features and forms found in the abstracted sculpture for Chicago done a little later, such as the wing-shaped curves of the flowing hair that comes to a point at the bottom. https://www.listasafn.is/english/exhibitions/nr/476
Pablo Picasso, Jacqueline with a Yellow Ribbon, 1962, sheet metal, cut-out, bent, and painted, 19 5/8 inches, National Gallery of Iceland, Reykjavik.
Chicago’s Picasso in Daley Plaza. Completed no later than 5 years after Jacqueline with a Yellow Ribbon in 1962 the dramatic shapes and formulations of the monumental sculpture share recognizable affinities. Author’s photo (July 2015).
Perfect Summer’s Day for Unveiling Ceremony
August 15, 1967 was a perfect summer’s day with temperatures in the low 80s and no rain to worry about in the forecast. The Woods Theater across the Plaza on Dearborn was playing Jack Nicholson’s new film, Hells Angels On Wheels. Before the unveiling, Mayor Richard J. Daley (1902-1976) spoke before the crowd. The mayor told the crowd that he was “very happy” that they had “come to share” in the dedication of what was “a great gift to our city” by Picasso. That Mayor Daley and Pablo Picasso, both Roman Catholics, unveiled Picasso’s gift on August 15 would be coincidental to the significant Catholic religious holiday of the Assumption of the Virgin Mary that also falls on the date.
A lunch-time crowd packed the new Civic Center Plaza on the day of the unveiling. The new plaza fronted a new modernist courthouse skyscraper and a modern outdoor sculpture – Chicago’s Picasso – as the major components of architectural plans virtually from its start.
In 1963, the Public Building Commission of Chicago decided to build a new modernist 31-story civic center fronted by a public plaza. The new complex would complement and contrast with the 10-story City Hall across Clark Street that opened in 1911. The new courthouse and plaza development was part of Mayor Daley’s overall downtown development that by 1963 was in high gear and would remain so past his unexpected death 5 days before Christmas in 1976 at 74 years old.
Skidmore, Owings & Merrill, the architectural firm associated with the project, wanted the art work to be by Pablo Picasso. When the project’s coordinator, architect William E. Hartmann (1916-2003), told Mayor Daley of these plans, the mayor quickly supported the choice. The challenge now was to convince Picasso.
The Chicago Civic Center’s supervising architects was C.F. Murphy led by the Aurora, Illinois-born architect Jacques Brownson (1924-2012). Skidmore, Owings & Merrill and Loebl, Schlossman, Bennett & Dart were associated architects. Al Francik was this drawing’s delineator.
The Chicago Civic Center was the first of several important new public buildings constructed in Chicago from the late 1950s to the 1980s as part of Mayor Richard J. Daley’s development of municipal government. The glass-and-steel modernist building held over 100 courtrooms, office space and a large law library. It boasted wide spans between weight bearing columns and 18-foot-tall floor to floor heights. Though the plan included a sculpture in the public plaza, Picasso’s sculpture came later after he was persuaded by William Hartmann of Skidmore, Owings & Merrill to make the artwork. Chicago’s Picasso continues to draw Chicagoans and visitors from all over the world to the plaza.
On August 15, 1967, Mayor Daley continued his remarks to the assembled crowd: “Today, with its unveiling, it becomes a permanent part of the Chicago scene. As mayor, I dedicate this gift, in the name of the people of Chicago, confident that it will have an abiding and happy place in the city’s heart.”
The Deed of Gift, dated August 21, 1966, was signed by Picasso with one of its witnesses being, Jacqueline, his wife and written in both English and French. The entirety of the Deed of Gift in English reads: “The Monumental sculpture portrayed by the maquette pictured above has been expressly created by me, Pablo Picasso, for installation on the plaza of the Civic Center in the City of Chicago, State of Illinois, United States of America. This sculpture was undertaken by me for the Public Building Commission of Chicago at the request of William E. Hartmann, acting on behalf of the Chicago Civic Center Architects. I hereby give this work and the right to reproduce it to the Public Building Commission, and I give the maquette to The Art Institute of Chicago. Desiring that these gifts shall, through them, belong to the people of Chicago” (Balton-Stratton, The Chicago Picasso, p. 33).
Picasso donated his sculpture to the people of Chicago in 1967. Skateboarder on Chicago’s Picasso in Daley Plaza. Author’s photo (July 2015).
Children’s slide on Chicago’s Picasso in Daley Plaza. Author’s photo (May 2021).
Picasso’s “gift” cost $300,000 to fabricate–or around $2 million today
Picasso donated his sculpture to the people of Chicago in 1967. The artist’s gift constituted the 42-inch maquette and the rights and privileges surrounding it. The monumental sculpture based on Picasso’s “gift” of the maquette cost $300,000 to fabricate–or around $2 million today – and paid for by private monies (Bach, p. 76).
The Picasso sculpture could not be completely a matter of artist largesse (though he did not accept a fee). Gertrude Stein in Picasso, her memoir of the artist written in 1938, writes of the young and then-impoverished Picasso who gave a prominent collector one of his desirable art works when he might have paid for it. Picasso told Stein about the collector: “He doesn’t understand that at that time the difference between a sale and gift was negligible” (Stein, Picasso, p. 8). Fast forward about fifty years and something similar might have applied for Picasso in 1967 in terms of acknowledging the people (and collectors) of Chicago.
Chicago’s Picasso in Daley Plaza. Author’s photo (May 2021) .
Chicago’s Picasso in Daley Plaza. Author’s photo (July 2015) .
Not everyone who gathered at Daley Plaza in August 1967 during the “Summer of Love” and then-escalating Vietnam War was there to welcome Picasso’s sculpture. Though Chicago had a long and venerable history with Picasso’s art – The Art Institute of Chicago began collecting it in 1923 and the first Picasso exhibition was at The Arts Club of Chicago that same year—protesters held signs at the unveiling, some of which read: “Let’s give it back now!!!,” “The Colossal Boo Boo,” and “It’s a Monsterment.” To what degree connoisseurship influenced protesters in August 1967 would appear to lie in the outright rejection of Modernism though more nuanced criticism could include crass commercialization of Picasso’s art work.
From its unveiling in August 1967 until today, Chicagoans have been mystified by their publicly owned “Picasso.” Picasso’s untitled artwork has had its boosters and detractors. Over the years, it appears public opinion has mellowed about the 50-foot-tall, 162-ton Cor-Ten (self-weathering) steel sculpture, even turning mostly in favor of the enigmatic work of art.
In more than 50 years of debate, Chicagoans have come to accept that they probably will never know exactly what it is that Picasso gave “to the people of Chicago.”
Though mysterious – is it a butterfly or bird? or, as Sir Roland Penrose (1900-1984) interpreted it, the abstracted head of a woman with ample flowing hair – many seek it out or find it as they cross the plaza. It adds grace, beauty, personality, proportionality and perspective to the urban space between Dearborn and Clark Streets at Washington Street.
Chicago’s Picasso in Daley Plaza looking to the northeast. Author’s photo (May 2021).
The sculpture’s rods have been compared to the strings of a guitar (Bach, pp.75-76). Always in the public domain, it is a popular icon for Chicago.
The Picasso bestows international and modernist value to the “City of the (19th) Century” which in 1911 – the year City Hall was erected – poet Carl Sandburg (1878-1967) called “hog butcher for the world” in his poem, Chicago. Though Sandburg wrote these literary images in and of another era, the famous poet was just 3 years older than Picasso and died in July 1967, only weeks before the official unveiling of the Picasso that ushed in a new age for the city.
In May 1963, Picasso was a vigorous 81 years old and living in Mougins, France. By way of literary and artistic contacts in Chicago and Europe, William Hartmann was helped on his mission to visit Picasso as the young American architect headed to the south of France to await the outcome of his request to meet the aging Basque artist.
Picasso was 81 years old and living in the south of France when Chicago architect William Hartmann tracked the artist down to ask him to consider creating a sculpture on a monumental scale for Chicago’s new modernist Civic Center development project. Photo credit: “PABLO PICASSO” by marsupilami92 is licensed under CC BY 2.0.
William Hartmann, 47 years old in 1963, was born in New Jersey and started his architectural career in Boston after attending MIT. He joined Skidmore, Owings & Merrill in New York City following World War II and was working in its Chicago office since 1947. Hartmann, elected to the College of Fellows of the American Institute of Architects (AIA) in 1963, is credited for personally enticing Picasso to design a sculpture for Daley Center Plaza in Chicago. In 1968, the year after the installation of the Picasso sculpture in Chicago, Hartmann was awarded an honorary Doctorate of Humane Letters from Lake Forest College. (For Hartmann biographical information and interviews, see the Ryerson & Burnham art and architecture archive – https://digital-libraries.artic.edu/digital/collection/caohp/id/26834/rec/1– retrieved June 9, 2021).
At their meeting Hartmann looked to familiarize the artist with the downtown Chicago project: he brought photographs of Chicago, the building site, and its people. Hartmann included photographs of the many Picasso works owned by Chicagoans and its institutions to show him this city’s longstanding regard and love for him.
Picasso told Hartmann he would think about it.
Hartmann continued to visit over the next months and years bringing various Americana and Chicago-related items as gifts, such as major sports team paraphernalia. Hartmann also updated the artist on the modernist Civic Center construction project.
Picasso produced a draft.
Before starting his maquette, Picasso asked Chicago leaders to keep the art project “relatively confidential” and out of the public eye
Hartmann told him, “We want to commission you so that I end up with a study I can take back.” Maintaining his flexibility, Picasso told Hartmann, “I may not produce anything—or produce something that you don’t like. It’s best that we keep this low-key from start to finish, calm, and relatively confidential.”
Thus, out of “relative confidentiality” was born much of the mystery and intriguing quality of the “Picasso” at its unveiling in Chicago in August 1967.
In 1963 Mayor Daley looked to persuade Picasso to do a monument. In 1965, Picasso looked to persuade Mayor Daley to accept his foremost Cubist original work that would be seen and interpreted each day by thousands in the heart of Chicago’s downtown government, business and shopping district.
Chicago’s collection of public art was initiated on August 15, 1967, when Mayor Richard J. Daley dedicated an untitled sculpture commonly known as “The Picasso” in Chicago’s new Civic Center (now the Richard J. Daley Center). Four years earlier, architect William Hartmann of Skidmore, Owings & Merrill had approached Pablo Picasso with the commission. The artist accepted and crafted two steel maquettes: one he kept in his studio at Mougins and gave the other to the architect to use in planning the potential fabrication of the sculpture. With the Picasso sculpture’s unveiling in 1967, its presence inspired private and public investment in many more artworks throughout the cityscape, including Anish Kapoor’s Cloud Gate (“The Bean”) completed in 2006 at Millennium Park.
Cloud Gate (“The Bean”), Anish Kapoor, 2006, Millennium Park, Chicago. Chicago’s Picasso in 1967 inspired private and public investment in art works throughout the cityscape well into the future. Author’s photo (May 2021).
When Picasso produced a 42-inch maquette of the sculpture, the board of the Public Building Commission of Chicago was given a private viewing of it. Afterwards, they passed a resolution authorizing the payment of $100,000 to Picasso (about $850,000 today) with the sum to include the purchase price for the right, title and interest in and to the maquette as well as copyright and copyright renewals. When Hartmann offered the $100,000 check to Picasso, he asked the artist to sign the “Formal Acknowledgment and Receipt.”
Picasso refused to accept the money or to sign the document.
In the chalk drawing (above) the importance of the sculpture’s forms, both empty of steel and fabricated thereof, carry greater significance to the outcome of the piece. In the drawing Picasso does not include the rods of which much representational conjecture has been made (i.e., guitar strings) as the artist himself admits adds value for structural stability of the modernist monument.
Based on Picasso’s design and the 42-inch maquette he made, the monumental statue was built by U.S. Steel in Gary, Indiana. Anatol Rychalski was the engineer in charge of the design and construction.
Rods of the Chicago Picasso in Daley Plaza, Author’s photo (July 2015).
“My job was to make an exact but giant likeness of Picasso’s 42-inch original. Being a follower of Picasso’s works, I knew that no snap judgement of this one would suffice. But those of us who built it accepted the challenge of its interpretation with as much enthusiasm as the challenge of its construction” (Chicago Tribune, August 20, 1967). Rychalski, a Polish immigrant to the U.S. in 1950 and, in 1967, senior designer in the American Bridge Division of U.S. Steel corporation, observed, “We had to roll steel to sizes which never have been rolled which means that the whole technology had to be to some extent improvised at the time.” Nearly 50 years later, in 2016, the 91-year-old Rychalski, said about the sculpture, “It defines the city as ‘spirit in flight.’ You look at the wings and the profile of an overwhelmingly powerful lady…the value of it is enormous.” (quoted in https://www.shawlocal.com/2016/07/28/shorewood-man-expresses-the-profound-through-his-acrylic-paintings/askc2p1/-retrieved June 9, 2021.)
Pablo Picasso and William E. Hartmann with the maquette in the artist’s Mougins studio in August 1966. This image appeared in the 1967 program pamphlet. Picasso made two maquettes – one he kept in his studio and the other he gave to The Art Institute of Chicago for the behalf of the people of Chicago.
Daley pulled the cord on the multi-color fabric that hid Picasso’s gift to the people of Chicago. Chicago poet Gweldolyn Brooks (1917-2000) read remarks and members of the Chicago Symphony Orchestra played music.
Collective gasp from the crowd followed by jeers at unveiling
With the veil removed, the crowd let out a collective gasp and began to shout negative comments about the art work. In its first public appearance, the crowd of potential Picasso admirers turned into a Picasso peanut gallery – an unintended, unwanted but not wholly unforeseen consequence by city authorities. Bemused criticisms of the Picasso were also part of what became – in the mayor’s words at the sculpture’s unveiling – “a permanent part of the Chicago scene.”
The Chicago Picasso at the dedication ceremony before the unveiling on August 15, 1967. Photo credit: case 69C353: The Letter Edged in Black Press, Inc. vs. Public Building Commission of Chicago in records of the U.S. District Court, Northern District of Illinois, Eastern Division, RG 21.
Controversial reaction better than “no reaction at all”
For William Hartmann and others responsible for bringing the Picasso to Chicago the local crowd’s visceral and negative reaction to the monumental public art work in the downtown location was better than no reaction at all.
“Picasso’s work, frequently, if not always has been the center of controversy,” Hartmann philosophically observed, “So it all fit into that pattern beautifully.”
A few days after the unveiling, Mayor Daley offers his thoughts at a press conference about the Picasso
A couple of days after the unveiling ceremony, Mayor Daley at a press conference offered what he thought about the Picasso sculpture. Though it was “wonderful,” Daley admitted like the rest of Chicago that he did not know what the sculpture really represents.
One idea the mayor floated was that it was a woman as some believed and that it was very appropriate that she stood in front of the courthouse.
“We’ve always looked at justice as a woman and it is outside a hall of justice,“ the 65-year-old Big-City Irish Democratic mayor said. He speculated further: “But it could also be a Phoenix. It would symbolize the rise of Chicago as a city of vitality out of the ashes caused by [the Great Chicago Fire]” (Chicago Tribune, August 19, 1967).
Considering the many conversations that were held over four years with city planners and the Basque artist through William Hartmann about Chicago’s Picasso it is fair to say that the mayor – the city’s biggest booster – would state his interpretation on the art work based on what he believed he saw after talking to the experts.
Chicago’s Picasso in Daley Plaza, made from a 42-inch maquette in Mougins, France into a 50-foot-tall, 162-ton Cor-Ten steel sculpture in Gary, Indiana, is an engineering marvel. Author’s photo (July 2015).
From 42-inch maquette in Mougins, France, to 50-foot-tall, 162-ton Cor-Ten steel sculpture in Gary, Indiana
In those same days, Anatol Rychalski (b. 1925) was open-minded about the Picasso’s precise artistic representation. “It doesn’t really matter how you personally interpret the sculpture,“ he told the Chicago Tribune on August 20, 1967, “as long as you not ridicule for the sake of ridicule.” He then shared his interpretation: “To me it represents the winged spirit of justice, with the serenity and compassion of a woman. It is a benevolent but stern and powerful justice.”
LOOK magazine interviews Pablo and Jacqueline Picasso and they talk about Chicago’s Picasso
In November 1967, LOOK magazine interviewed Picasso and Jacqueline and the Chicago sculpture came up. They were both amused by the baffled reaction of Chicagoans to the art work. Jacqueline offered that it was obviously “a woman’s head” and shoulders but “no more.” Picasso observed that the “cage” of steel rods was more an aesthetic than a representation. In the LOOK interview Picasso observed: “I am touched that the [Chicago] public could mysteriously share my joy over the results of many years work in sculpture. In a way, my sculptures are more my children than my paintings. I am caught up in shaping my vision of the world. In sculpture, I cut through appearances to the marrow, and rebuild the essentials from there. I cannot invent a detail that has not been carefully planned and my wish is that the public, through thinking and meditation, may retrace my intentions” (LOOK, November 28, 1967). The Basque artist’s challenge to the viewer to discover an objective answer to his artistic intentions makes the sculpture’s meaning more intriguing.
Chicago’s Picasso in Daley Plaza. In a November 1967 LOOK magazine interview, Picasso and Jacqueline expressed amusement at Chicagoans’ reaction to the art work. Jacqueline said it was obviously “a woman’s head” and shoulders but “no more.” Author’s photo (July 2015).
“Eyes that are pitiless, cold, mean…”
Probing the artist’s intentions was met soon with succinct anecdotal insight from Chicago’s newspaperman, Mike Royko (1932-1997). Royko wrote creatively and personally about the significance of the art work for Chicago in 1967. The columnist’s cynical eye on the possible relationship of the modernist steel art work and the city he loved was published in the afternoon newspaper, the Chicago Daily News:
“That is all there is to it. Some soaring lines, yes. Interesting design, I’m sure. But the fact is, it has a long stupid face and looks like some giant insect that is about to eat a smaller, weaker insect. It has eyes that are pitiless, cold, mean.
But why not? Everybody said it had the spirit of Chicago. And from thousands of miles away, accidentally or on purpose, Picasso captured it.
Up there in that ugly face is the spirit of Al Capone, the Summerdale scandal cops, the settlers who took the Indians but good.
ITS EYES ARE LIKE the eyes of every slum owner who made a buck off the small and weak. And of every building inspector who took a wad from a slum owner to make it all possible.
It has the look of the dope pusher and of the syndicate technician as he looks for just the right wire to splice the bomb to.
Any bigtime real estate operator will be able to look into the face of the Picasso and see the spirit that makes the city’s rebuilding possible and profitable.
It has the look of the big corporate executive who comes face to face with the reality of how much water pollution his company is responsible for – and then thinks of the profit and loss and of his salary.
IT IS ALL THERE in that Picasso thing – the I will spirit. The I will get you before you will get me spirit.
Picasso has never been here, they say. You’d think he’s been riding the L all his life.”
Soft Version of Maquette for a Monument Donated to the City of Chicago by Pablo Picasso, Claes Oldenburg (b. 1929), 1969. Canvas and rope, painted with synthetic polymer, dimensions variable (38 x 28¾ x 21 inches, full height), Musée National d’Art Moderne, Centre Georges Pompidou, Paris.
What could be seen as an early parody of the Picasso sculpture by Claes Oldenburg is, in fact, the artist’s homage to the art work as well as conversation with it on aesthetics.
In Oldenburg’s version Picasso’s steel becomes soft cloth; straight rods become limp ropes. More malleable than the original, Oldenburg dubbed his work “Super-Cubism” in that where a Cubist work offers the viewer multiple viewpoints, Oldenburg’s piece offers viewpoints that are unlimited (Picasso and American Art, Michael FitzGerald, Whitney Museum of American Art, New York, 2006, p. 259).
Gertrude Stein by Pablo Picasso, 1905–6, The Metropolitan Museum of Art, New York. The Met writes about this work: “[Picasso] reduces her body to simple masses—a foreshadowing of his adoption of Cubism—and portrays her face like a mask with heavy lidded eyes, reflecting his recent encounter with Iberian sculpture.” see- https://www.metmuseum.org/art/collection/search/488221 – retrieved June 4, 2021.
Reaching farther back in Picasso’s career at the start of the 20th century, American writer Gertrude Stein (1874-1946) knew Picasso in Paris and later wrote about him. Stein observed that Picasso was “the only one in painting who saw the twentieth century with his eyes and saw its reality and consequently his struggle was terrifying …for himself and for the others, because he had nothing to help him…he had to do it all alone and, as in spite of much strength he is often very weak…” (Stein, Picasso, p. 22).
In 1906 when Picasso was 25 years old, he painted Gertrude Stein’s portrait. According to Stein, she posed for him in Paris “eighty times” but, finally, he “painted out the head” and, following a break in Spain, painted in a new head without seeing her again beforehand (see G. Stein, Picasso, 1938, p. 8). Though Stein was “satisfied” with the portrait and remained so over 30 years later, Picasso was criticized in 1906 for the depiction. The artist responded with a remark now considered famous and certainly, as Stein and the world discovered, prescient: “Everybody says that she does not look like it but that does not make any difference, she will.” (See G. Stein, The Autobiography of Alice B. Toklas).
The bold creative vision of the Cubist artist is very much in evidence in Picasso’s gift to the people of Chicago that stands in Daley Plaza. It may be that Picasso’s intentions for the iconic untitled sculpture may only be known in future days. For, at first, they said it did not look like Chicago, but it didn’t make any difference – because it will.
Chicago’s Picasso in Daley Plaza from the back looking to the southwest. Author’s photo (October 2015).
Chicago’s Picasso (June 2022).
Bach, Ira J. and Mary Lackritz Gray, A Guide to Chicago’s Public Sculpture, University of Chicago Press, 1983.
FitzGerald, Michael, Picasso and American Art, Exh. Cat. Whitney Museum of American Art/Yale University press, New York, 2006.
Rubin, William, Picasso in the Collection of the Modern of Modern Art, , MoMA, New York, 1972.
“The Chicago Picasso,” Progressive Architecture (November 1966), p. 66 (ill.).
The Art Institute of Chicago, Annual Report (1966–1967), pp. 26–27 (ill.).
Chicago Picasso Dedication program (August 15, 1967) (ill.).
Lael Wertenbaker, The World of Picasso (New York: Time-Life Books, 1967), p. 153 (ill.).
“A Picasso Statue for Chicago,” The Burlington Magazine 109:766 (January 1967), pp. 34–36, figs. 68 and 70.
Burton Wasserman, “Picasso: The Touch of Magic,” Art Education 21:4 (April 1968), p. 29 (ill.).
Clarence Page, “Giant Iron Sculpture: Picasso Leaves His Mark on the City,” Chicago Tribune (April 9, 1973), section 1, p. 6.
Roberto Otero, Forever Picasso: An Intimate Look at his Last Years (New York: Harry N. Abrams, 1974), pp. 46, 50, 52–55 (ill.).
Roberto Otero, “It’s more charming this way: How the master made us a gift,” Chicago Guide, vol. 23, no. 10 (October 1974), pp. 86–87.
Marilyn McCully, A Picasso Anthology: Documents, Criticism, Reminiscences (London: Arts Council of Great Britain, 1981), pp. 266–267 (ill.).
Sally Fairweather, Picasso’s Concrete Sculptures (New York: Hudson Hills Press, 1982), p. 85.
The Picasso Project, Picasso’s Paintings, Watercolors, Drawings, and Sculpture: A Comprehensive Illustrated Catalogue 1885–1973, The Sixties II 1964–1967 (San Francisco: Alan Wofsy Fine Arts, 2002), p. 133, no. 64–373 (ill.).
Gary Tinterow, Master Drawings by Picasso, exh. cat. (Cambridge, Mass., 1981), p. 255, no. 27.
Stephanie d’Alessandro, “Picasso and Chicago,” (Art Institute of Chicago, 2013), p.26, cat 245 (ill.)