Tag Archives: Mayor Richard J. Daley

A Gift to the People: The Chicago Picasso, 1967.

FEATURE IMAGE: Chicago’s Picasso in Daley Plaza. Author’s photo (July 2015).

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 with wife, Jacqueline. Photo credit: “picasso” by ombrelle is licensed under CC BY-NC-SA 2.0.

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.

Chicago Civic Center, 1963. (see- https://www.artic.edu/artworks/107284/chicago-civic-center-perspective-view-of-plaza– retrieved June 9, 2021).

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 an art work. 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 art work.

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.

Maquette for Richard J. Daley Center Sculpture,1964. The Art Institute of Chicago. Maquette for Richard J. Daley Center Monument, 1965. Welded steel (simulated and oxidized) 41 ¼ x 27 ½ x 19 inches, The Art Institute of Chicago. The artist; given to The Art Institute of Chicago, 1966. See – https://www.artic.edu/artworks/25809/maquette-for-richard-j-daley-center-sculpture — June 6, 2021.

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 art works 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.

Rather it was Picasso’s wish that a “Deed of Gift” be prepared and which Picasso signed on August 21, 1966. (see- https://en.wikisource.org/wiki/Letter_Edged_in_Black_Press,_Inc._v._Public_Building_Commission_of_Chicago – retrieved June 4, 2021).

Chicago’s Picasso in Daley Plaza from the back looking to the south. As in every cubist art work, a visit to the sculpture provides multiple viewpoints. Author’s photo (July 2016).

Richard J. Daley Center Sculpture, 1967, White chalk on plywood, 100 x 81 cm, Signed recto, upper right, in magenta pastel: “Picasso” (underlined); The artist; given to The Art Institute of Chicago, 1967. – https://www.artic.edu/artworks/28019/richard-j-daley-center-sculpture– retrieved June 9, 2021.

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.”

Mayor Richard J. Daley (right), c. 1971. Photo credit: “File:Chicago Mayor Daley and Keith Kingbay.jpg” by Chester R. Kropidlowski P.E. is licensed under CC BY-SA 2.5.

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).

SOURCES:

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.

Stein, Gertrude, Picasso, B.T. Batsford, Ltd. London, 1938.

Stein, Gertrude, The Autobiography of Alice B. Toklas, Illustrated (PENGUIN PRESS). 2020.

Stratton, Patricia Balton, The Chicago Picasso: A Point of Departure, Amp&RSAND, INC. Chicago New Orleans, 2017.

https://arts.uchicago.edu/public-art-campus/public-art-campus#Antoine_Pevsner

Harper’s Bazaar, March 2021.

https://www.brooklynmuseum.org/opencollection/objects/169088

https://www.listasafn.is/english/exhibitions/nr/476

https://www.artic.edu/artworks/107284/chicago-civic-center-perspective-view-of-plaza

https://digital-libraries.artic.edu/digital/collection/caohp/id/26834/rec/1

https://en.wikisource.org/wiki/Letter_Edged_in_Black_Press,_Inc._v._Public_Building_Commission_of_Chicago – retrieved June 4, 2021.
https://interactive.wttw.com/playlist/2017/08/02/colossal-booboo-incredible-story-chicago-picasso – retrieved June 1, 2021

https://www.artic.edu/artworks/28019/richard-j-daley-center-sculpture

https://www.shawlocal.com/2016/07/28/shorewood-man-expresses-the-profound-through-his-acrylic-paintings/askc2p1/)

Chicago Tribune, August 19, 1967.

Chicago Tribune, August 20, 1967.

https://www.metmuseum.org/art/collection/search/488221 – retrieved June 4, 2021.

LOOK, November 28, 1967.

FURTHER READING (see – https://www.artic.edu/artworks/25809/maquette-for-richard-j-daley-center-sculpture – retrieved June 5, 2021):

“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.)

https://www.academia.edu/49215007/A_GIFT_TO_THE_PEOPLE_THE_CHICAGO_PICASSO_1967


PART 3 – Martin Luther King, Jr. and the Chicago Freedom Movement: the Marches and Rallies of Summer 1966.

August 5, 2016 – by John P. Walsh.

Released on July 4, 1966 The Lovin’ Spoonful’s “Summer in the City” reached number one on the Billboard Hot 100 in August 1966 and stayed there for three consecutive weeks.1 “Hot town, summer in the city, back of my neck getting dirty and gritty, been down, isn’t it a pity, doesn’t seem to be a shadow in the city. All around, people looking half dead, walking on the sidewalk, hotter than a match head…” 

In Chicago in 1966 Dr. King promised a summer of nonviolence but that didn’t stop a white Chicago policeman from shooting and killing a 21-year-old Puerto Rican on June 10, 1966 and sparking a riot of the victim’s neighbors who looted stores, torched squad cars and assaulted firefighters called out to quell the blazes. A month earlier Stokely Carmichael, elected by a razor-thin margin over John Lewis to lead the Student Nonviolent Coordinating Committee, pronounced a new Black Power movement that ended that organization’s interracial efforts.

While the Chicago Freedom Movement remained staunchly interracial King warned Daley on July 9, 1966 that the mayor’s aloofness towards fundamental improvements for African-Americans in Chicago could lead to more radical black groups making their own demands. Since black Chicagoans were, despite a fair housing ordinance, mostly restricted to the ghetto where landlords charged higher rents to a captive market, King’s allies believed open access to Chicago’s real estate market was necessary to tackle larger problems of slums, unemployment, and underprivileged schools.

Chicago,Illinois summer 1966.(AP Photo)

Chicago, Illinois, summer 1966 (AP Photo). In the foreground is the Shangri-La with its parking garage and deck at 222 N. State Street. Billed on its matchbooks as “the world’s most romantic restaurant” the Far Eastern/Polynesian themed establishment opened in 1944 and closed in 1968.  The 65-story Marina Towers (background) opened in 1963. When completed in 1968 the twin towers were both the tallest residential buildings and the tallest reinforced concrete structures in the world.

Released on July 4, 1966, The Lovin’ Spoonful’s “Summer in the City” reached number one on the Billboard Hot 100 in August 1966 and stayed there for three consecutive weeks.

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Mayor Richard J. Daley views the Chicago skyline in 1966 from atop the new Daley Center. Daley was focused on downtown development in the mid-1960’s and viewed King largely as an outsider with his own political agenda who simplified complex urban social problems for which Chicago was not completely at fault.

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Martin Luther King Jr., with Stokely Carmichael in Mississippi in 1966. Although King saw Carmichael as a most promising young leader, in May 1966 Carmichael declared a new Black Power movement that ended the Student Nonviolent Coordinating Committee’s interracial efforts. The Chicago Freedom Movement to which King was attached stayed staunchly interracial.

Dr. King exits the tenement apartment at 1550 S. Hamlin on Chicago's West Side where his family stayed in 1966

Dr. King exits the tenement apartment at 1550 S. Hamlin on Chicago’s West Side where his family stayed during the Chicago Freedom Movement in 1966. American Friends Service Committee found that white and black families paid about the same in monthly rent but whites earned half as much more as what blacks earned. They found that for the same money blacks on average lived in about 15% less space (3.35 to 3.95 rooms). King looked to solve these and other socioeconomic discrepancies in his 1966 Chicago sojourn.

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1550 S. Hamlin on Chicago’s West Side, the redeveloped site where King and his family stayed during the Chicago Freedom Movement in 1966. Screenshot October 29, 2018.

Mathias “Paddy” Bauler who in 1955 famously quipped that “Chicago ain’t ready for a reform mayor”2 was still an active Northside Chicago alderman in 1966. To some Chicagoans, Bauler’s colorful quip should have been Mayor Daley’s prevailing opinion towards open housing. In July and August 1966 King’s street marches into the white-only neighborhoods of Gage Park, Marquette Park and Chicago Lawn3 were intended to showcase the Chicago Freedom Movement’s reform message of open housing.

Following a rally at Soldier Field on Sunday, July 10, 1966 where King spoke to thousands of supporters including these words, “we will no longer sit idly by in agonizing deprivation and wait on others to provide our freedom,”4 he then led thousands on a march to City Hall. Marching peacfully three miles from the lakefront into downtown, King posted the Chicago Freedom Movement’s fourteen demands for a racially open city at City Hall. The next day Daley met with King but the pair, who personally respected one another, floundered at an impasse.

King was impatient for direct action but Daley was passive and noncommittal. Afterwards King made clear to Daley that these were 14 demands, not suggestions. From Daley’s viewpoint, King was a public relations disaster for Chicago because he was an outsider articulating simple solutions to complex and not always only local social problems. King indicated an inclination that it was time to march into the neighborhoods.

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Sunday, July 10, 1966, Martin Luther King Jr. delivers a 12-page speech at a rally for civil rights at Soldier Field in Chicago that drew tens of thousands of supporters of open housing, better education and increased employment opportunities for the city’s black community. Photo: the Sun-Times archives.

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The crowd and Dr. King at the Chicago Freedom Movement rally on Sunday, July 10, 1966, at Soldier Field. Photograph by Bernard Kleina.

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Following a rally for civil rights at Soldier Field in Chicago where Dr. King addressed the crowd on Sunday, July 10, 1966, thousands marched through downtown Chicago to City Hall.

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The march ended when the list of demands was nailed to the door of Chicago’s City Hall.

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Dr. Martin Luther King Jr. at Chicago’s City Hall on July 10, 1966.

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King met with a passive and noncommittal Daley in City Hall on Monday, July 11, 1966 (this photo, March 24, 1966). The antagonists met infrequently in 1966 to address The Chicago Freedom Movement’s issues and each time King left with vague, piecemeal promises for change.

On July 14, 1966, three days after the Daley-King meeting, a drifter named Richard Speck tortured, raped, and murdered eight female student nurses from South Chicago Community Hospital on the south side of Chicago. Speck, born in an Illinois farm town in 1941, lived in Dallas for the last 15 years and, running from the law there, only arrived into Chicago in April 1966. In the pall of a July heatwave, the serial killer was on the loose in the city for three days – a police sketch plastered everywhere in newspapers and on TV – until he was arrested on July 17, 1966. These gruesome killings were called “The Crime of the Century” and added panic, gloom and a general fear to an already tense city.5

Two weeks later, on August 1, 1966, in Austin, Texas, Charles Whitman, shot 49 victims from the bell tower of the University of Texas, killing 17 – and brought the term “mass shooting” into the American popular discourse.

These violent crimes precipitated ramped-up tension in Chicago and the nation in the hot and muggy summer of 1966. Already gripped by an escalating Vietnam War as well as massive civil rights movements, women’s rights movements, youth counter-cultural movements, and even radical church reform (“Vatican II”) movements, American society was swiftly and increasingly wrapped into a tight fist of revolutionary social change whose resistance to it tended to exacerbate the possibility of what King called “social disaster.”

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Violent crimes of mass murderers Richard Speck in Chicago in midJuly 1966 and Charles Whitman in Texas in August 1966 worked to ramp-up tension people felt in Chicago during the long, hot summer of 1966.

Speck’s horrendous crimes came in the same week when Chicago police shot and killed two black Chicagoans, including a pregnant 14-year-old girl, during riots on the predominantly black West Side that Daley blamed on King. King denied any such connection and told Daley that if it wasn’t for the Chicago Freedom Movement’s preaching nonviolence those riots would have mushroomed into another Watts. To King’s way of thinking these disturbances among a swath of the city’s population should serve as the clarion call to Daley to act boldly on behalf of the black community and begin to enact the 14 demands brought to him to make Chicago a racially open city.6

Instead Daley’s response was to mobilize 4,000 members of the National Guard to restore law and order. In the wake of the violence—with police brutality blamed by the police on the rioters—another meeting between Daley and King took place where they agreed on a handful of reforms– (1) to establish a citizen’s advisory committee on police and community relations; (2) that grassroots workers go door to door in riot-affected areas to advise calm; and, (3) a new investment to build more swimming pools in black areas.

King was unimpressed with what he considered Daley’s lackadaisical approach and local media mocked the mayor’s feeble plan.

For his part, King started “walking,” that is, organizing marches into the city’s largely white neighborhoods adjacent to black ones so to highlight the need for open housing. KIng also re-started talks with Chicago gang members to convince them to forsake violence and join his nonviolent racially integrated movement.7

Since Daley viewed Chicago as having more accomplishments than problems in the area of race relations and that, further, the Mayor publicly considered the outsider King to be a selfish agitator, many white residents of soon-to-be-marched-upon city neighborhoods assumed Daley would take their side.

But Daley’s politics of law and order and incremental social change succeeded in alienating almost everyone. In the Chicago mayoral election in 1967 black voter turnout and support for Daley disappeared and did not return for him in subsequent mayoral contests in 1971 or 1975. Meanwhile, white residents felt the fatal sting of being “betrayed”by the city powers as Daley did not stop the marches from going forward.

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The north edge of Marquette Park in early 2016. Photograph by author.

The Rev. Martin Luther King, center, and a Chicago building janitor, Robert DeBose, left, exchange words on the eviction of two families from the building. DeBose contended the families were evicted for not paying rent. He said many of the building's problems were caused by people who refused to keep it clean.

The Rev. Martin Luther King and Chicago building janitor Robert DeBose, left, discuss the eviction of families from the building. DeBose contended the families were evicted for not paying rent.

The first march was on Saturday, July 16, 1966 when a group of 120 demonstrators marched from Englewood into Marquette Park “for a picnic.” The next day, Sunday, July 17, 1966 about 200 marchers, taunted by neighborhood whites, held a prayer vigil outside a Gage Park church. Almost two weeks later, on Thursday, July 28, 1966, protesters began an all-night vigil at 63rd Street and Kedzie Avenue at a realty company that systematically discriminated against black buyers looking to move into Gage Park. The realtors had been reported to the Chicago Commission on Human Relations but nothing happened. White counter demonstrators appeared and with nightfall Chicago police struck a deal for the lawful open housing (or open occupancy) protesters to file into paddy wagons for safe escort back to the ghetto.

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Dr. King attended two marches in Marquette Park on August 5, 1966 and, shown here, South Deering on August 21, 1966.

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Movement leaders Al Raby (left), James Bevel (second from right) and Jesse Jackson (center) protest in front of the Chicago Real Estate Board in downtown Chicago.

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Chicago Lawn white hecklers during a Chicago Freedom Movement march in summer 1966.

Chicago Police in Marquette Park on August 5, 1966.

Chicago Police in Marquette Park on August 5, 1966. Their presence did not prevent severe rioting by white mobs that day.

On July 30, 1966 about 250 open housing protesters, furious about the recent night’s humiliation, looked to return to the same southwest side intersection. They were met by bottles and rocks thrown by whites so that the protesters retreated again east of Ashland Avenue into Englewood. When demonstrators marched out of Englewood again on July 31, 1966 more than 500 whites met them as the protesters crossed Ashland Avenue on 63rd Street. Armed with cherry bombs, rocks, bricks, and bottles, the surly mob grew to over 4,000 whites where they burned cars and injured around 50 open-occupancy protesters, including a first grade teacher hit by a projectile.

The Rev. Martin Luther King Jr. and the Rev. Jesse Jackson in Chicago. King holds a Chicago Daily News paper with a headline that reads "City Seeks To Cut Marches.

Rev. Martin Luther King Jr. and Rev. Jesse Jackson in Chicago. King holds a Chicago Daily News with a headline that reads “City Seeks To Cut Marches.”

On August 2, 1966, Daley met with white homeowner groups from the southwest side. In addition for calling for law and order from blacks and whites, the mayor acknowledged the open housing protesters had a legal right to march. Daley, through an intermediary, sent King modest housing improvement and integration proposals which King rejected and Daley implemented anyway. Daley next sent to an embattled King some local black aldermen who opposed the Chicago Freedom Movement but carried more substantial housing and employment offers from City Hall. The city government hoped that King, who was known to be looking for a way out of Chicago with a tangible victory, might accept a negotiated pact and call an end to the campaign. With these serious talks going on between Daley and King, the late summer marches for open housing continued under an increasingly vicious white backlash.

A mob attacks a car during the Rev. Martin Luther King Jr.s Aug. 5, 1966march to Marquette Park shortly. Bernard Kleina

A white mob attacks a car during the Rev. Dr. Martin Luther King Jr’s August. 5, 1966 march to Marquette Park. Photo by Bernard Kleina.

White rioters at Clark gas station in Marquette Park on August 5, 1966.

White rioters encountering Chicago police at a Clark gas station in Marquette Park on August 5, 1966. A Confederate flag is on the right. Photo by Bernard Kleina.

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Whites moving east on 63rd Street to confront marchers on the way to Marquette Park on August 5, 1966. The Clark gas station in the background is the site of the photos by Bernard Kleina.

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The infrastructure of the former Clark gas station still exists today on 63rd street (July 2018). Screen shot dated October 29, 2018.

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The old Clark gas station looking east on 63rd Street at Whipple. Screenshot October 29, 2018.

On Friday, August 5, 1966, Al Raby and Mahalia Jackson led a group of about 500 open occupancy protesters into Marquette Park in south Chicago Lawn. A white mob of over 10,000 had gathered there and verbally abused the marchers and then turned physically violent. King, who up to this point had not participated in these marches, arrived and joined the march on the north side of the park. It was here, between Francisco and Mozart Streets south of Marquette Road that Martin Luther King was struck in the head behind the right ear by a baseball-sized rock and felled to one knee.

The open housing marchers, angry and disgusted, made their way the short distance out of the park and towards 63rd and Kedzie where King dodged a knife thrown at him. The crowd began to shout “Kill him!” as well as other racially charged epithets and about 2,500 whites now started throwing bottles, burned cars, smashed bus windows and clashed with police for the next five hours.

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King with (from left) Mahalia Jackson, Jesse Jackson, and Al Raby at the New Friendship Baptist Church at 848 W 71st St in Chicago —the staging point for the 3 and a half miles walk to Marquette Park —on August 4, 1966. Photo: Chicago Tribune.

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Marching south down Kedzie Avenue to Marquette Park in Chicago on August 5, 1966. Bourne Chapel is located at 6541 S. Kedzie, just two blocks from the park. Today the funeral home is gone. The yellow-brick building housing Tony’s Barber Shop in 1966 is still there today, though the barber shop business is gone. Photo by Bernard Kleina.

Bourne chapel 6541 S. Kedzie Chicago July 2018.
King after being struck by a rock at the August 5 protest. PHOTO CHICAGO TRIBUNE

Rev. Martin Luther King Jr. falls after being struck by a rock from a taunting white mob in Marquette Park in Chicago on August 5, 1966. King would also dodge a knife hurled at him in the park. King soberly reacted by saying: “Oh, I’ve been hit so many times I’m immune to it.”

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Vandals overturn a car before the August 5 march in Marquette Park. Photograph by Jim Klepitsch.

Rev. Martin Luther King Jr. with supporters in Marquette Park shortly after someone hurled a rock or brick that hit him in the head. Bernard Kleina

Rev. Martin Luther King Jr. with supporters in Marquette Park shortly after someone hurled a rock that hit him in the head. Photo by Bernard Kleina.

Martin Luther King, Jr.’s comments on that day’s violence entered the annals of civil rights and American history and marks a failing grade for Chicago: “I’ve been in many demonstrations across the south, but I can say I have never seen – even in Mississippi and Alabama – mobs as hostile and hate-filled as I’ve seen in Chicago. I think the people from Mississippi ought to come to Chicago to learn how to hate.”9

A permanent memorial to Dr. King and the Chicago Freedom Movement was erected in Marquette Park on August 5, 2016 for the 50th anniversary of the Marquette Park marches. This MLK Living Memorial at 67th Street and Kedzie Avenue includes a bench to contemplate the 300 tiles created by Chicagoans of all ages representing their understanding of “Home” and representations of a diverse community who continue to work to advance Dr. King’s vision of peace and justice.

During a news conference in Chicago on Sept. 15, 1966, the Rev. Martin Luther King Jr, called the 10-point open housing agreement reached with Mayor Richard Daley and other civic, business and religious leaders "a one-round victory in a 15-round battle." King had named Chicago his first target in the North for racial equality the previous winter.

In Chicago on Sept. 15, 1966, the Rev. Martin Luther King Jr, characterized an open housing agreement reached with Mayor Richard Daley and civic, business and religious leaders “a one-round victory.” King had named Chicago his first target in the North for racial equality in January 1966.

NOTES:

  1. The Lovin’ Spoonful – Hot 100″Billboard(Nielsen) 78 (33): 22. 1966-08-13.
  2. On Mathias “Paddy” Bauler – http://www.encyclopedia.chicagohistory.org/pages/527.html; Challenging the Daley Machine: A Chicago Alderman’s Memoir,  Leon M. Despres and Kenan Heise, Northwestern University Press, 2005, 3.
  3. In 1960 virtually no blacks – only 7 according to that year’s U.S. Census– lived among a white population of 100,000 in Gage Park/Chicago Lawn/Marquette Park areas – cited in American Pharoah: Mayor Richard J. Daley His Battle for Chicago and the Nation, Adam Cohen and Elizabeth Taylor, Little Brown and Company, New York, 2000, p. 392. Fifty years after the Marquette Park march in 2016, the surrounding neighborhood of Chicago Lawn is a very different place from the all-white enclave King encountered. Whites now account for just 4.5 percent of the neighborhood’s population, according to the U.S. Census Bureau. African-Americans make up 49 percent and Hispanics 45 percent –http://chicago.suntimes.com/news/mitchell-rev-martin-luther-king-still-bringing-us-together/- retrieved August 5, 2016.
  4. Soldier field rally quote- http://www.thekingcenter.org/archive/document/speech-chicago-freedom-movement-rally# – retrieved August 5, 2016.
  5. On Speck murders – see http://articles.chicagotribune.com/1986-07-06/features/8602180462_1_richard-speck-cab-driver-bags – (and following) retrieved August 5, 2016; See The Crime of the Century: Richard Speck and the  Murders that Shocked the Nation,” Dennis L. Breo and William J. Martin, 2016, Skyhorse Publishing.
  6. Results of West Side riots – American Pharoah, p. 389; Substance of 14 demands – Ibid., p. 385.
  7. Media mock Daley’s plan and King re-engages gang members– Ibid., 389-391.
  8. Black voter support declines – Black Politics in Chicago, William J. Grimshaw, Loyola University Presas, 1980, p. 25; whites feel “betrayed” – American Pharoah, p. 394.
  9. American Pharoah, p. 392-396 and http://sites.middlebury.edu/chicagofreedommovement/don-rose/ – retrieved August 5, 2016.
  10. C.T. Vivian quotation and text below- Image is Creative Commons CC-BY-SA 4.0.) SOURCE: https://aha.confex.com/aha/2012/webprogram/Paper9589.html

Chicago public school teacher Al Raby (left) of the CCCO and Edwin “Bill” Berry (right) of the Chicago Urban League inspect the open-housing agreement reached in Chicago in late August 1966 with Ross Beatty (center) of the Chicago Real Estate Board. It contained mostly broad volunteer promises for modest integration in all Chicago neighborhoods by the end of 1967, a mayoral election year. At an August 26, 1966 meeting at a downtown hotel with King and Daley both present — and after city faith leaders promised their resolute support of the agreement — Ross Beatty only tepidly endorsed the plan: “Well,” he confessed, “we’ll do all we can, but I don’t know how I can do it.”

If you liked this blog article, PART 3 – Martin Luther King, Jr. and the Chicago Freedom Movement: the Marches and Rallies of Summer 1966 links to Part 1 and Part 2 in the series are provided here:

I came to see that so many people who supported, morally and even financially, what we were doing in Birmingham and Selma were really outraged against the extremist behavior of Bull Connor and Jim Clark toward Negroes rather than believing in genuine equality for Negroes. And I think this is what we’ve gotta see now, and this is what makes the struggle much more difficult. Rev. Dr. Martin Luther King, Jr. (1929-1968), “The Other America” speech, Stanford University, April 14, 1967.

We who engage in nonviolent direct action are not the creators of the tension. We merely bring to the surface the hidden tension that is already alive. Rev. Dr. Martin Luther King, Jr. (1929-1968), Letter From Birmingham Jail, 1963.

I have earnestly opposed violent tension, but there is a type of constructive, nonviolent tension which is necessary for growth. Rev. Dr. Martin Luther King, Jr. (1929-1968), Letter From Birmingham Jail, 1963.

I hope that the president didn’t mean to equate nonviolent demonstrations with a riot, and I think it is time for this country to see the distinction between the two…I think demonstrations must continue, but I think riots must end. Rev. Dr. Martin Luther King, Jr. (1929-1968), interview from Chicago with Meet The Press, August 21, 1966. Cited in The Eclipse of Equality: Arguing America on Meet the Press, Solon Simmons, Stanford University Press, 2013, p. 160-61.

I contend that we are not doing more harm than good in demonstrations, because I think demonstrations serve the purpose of bringing the issues out in the open. I have never felt that demonstrations could actually solve the problem. They dramatize the existence of certain social ills that could very easily be ignored if you did not have demonstrations. I think the initial reaction to demonstrations is always negative….Ultimately society must condemn the robber and not the robbed. It must protect the robbed, and this is where we are in these demonstrations, and I am still convinced that there is nothing more powerful to dramatize a social evil than the tramp, tramp of marching feet. Rev. Dr. Martin Luther King, Jr. (1929-1968), interview from Chicago with Richard Valeriani (NBC News), August 9, 1966. Cited in The Eclipse of Equality: Arguing America on Meet the Press, Solon Simmons, Stanford University Press, 2013, p. 161.

Nonviolence is the only honorable way of dealing with social change, because if we are wrong, nobody gets hurt but us. And if we are right, more people will participate in determining their own destinies than ever before. Rev. C.T. Vivian (1924-2020), American minister, author, and civil rights leader.

Vivian attended Western Illinois University in Macomb, Illinois, where he worked as the sports editor for the student newspaper. In 1987 Vivian received an honorary doctorate from WIU. His career as an activist began in Peoria, Illinois, where he participated in sit-in demonstrations to successfully integrate Barton’s Cafeteria in 1947. He served with Dr. King and joined his executive staff where he served as the national director of affiliates for the Southern Christian Leadership Conference (SCLC).

In the mid1960’s Vivian organized and directed efforts to re-evaluate activist networks and goals and the ideology and practice of Black Power, as well as the role of Christian faith among its participants. In Chicago in 1965, Rev. C.T. Vivian became Director of Fellowships and Internships of the Urban Training Center (UTC) for Christian Mission in Chicago. Founded with a grant from the Ford Foundation in 1963 to train African American Christian pastors and organizers—Rev. Jesse Jackson was among the first 19 men trained under Vivian’s program at the UTC in its first year—the organization considered new dimensions to protest movements in Chicago concerned with Black power, Black identity and Black unity. By means of lectures, readings, discussions and nonviolent training exercises such as “the Plunge” where participants had to survive on their own for seven days without access to housing, food, or other resources, the organization existed to help its participants to seeks ways to take power from structures which affect their lives particularly on the West and South Sides of Chicago. In 1970 Vivian became the first of King’s staff to write a book based on his experiences in the civil rights movement, entitled Black Power and the American Myth.

Vivian eventually became director of the Urban Theological Institute at Atlanta’s Interdenominational Theological Center, a consortium of African-American seminaries, and was board chair of Capitol City Bank, a minority-owned bank with several branches in Georgia. Through the C.T. Vivian Leadership Institute founded in 2008, he continued to do the kind of work he did in Chicago facilitating mainly youth seeking discerned strategies for their material and spiritual goals, as he fostered innovative leadership and career development for at-risk youth and college graduates. In 2013, President Obama awarded Vivian the Presidential Medal of Freedom. C.T. Vivian died on July 17, 2020 at 95 years old.