Hosmer, Harriet Goodhue

Hosmer, Harriet Goodhue

▪ American sculptor
born October 9, 1830, Watertown, Massachusetts, U.S.
died February 21, 1908, Watertown

      American sculptor, one of the leading female sculptors working in Rome in the 19th century and perhaps the only one to win complete financial independence through her artistic work.

      Hosmer was encouraged by the actress Fanny Kemble (Kemble, Fanny) to pursue her natural talent in the art of sculpture. She established a studio at home and made what progress she could on her own, while furthering her knowledge of anatomy by taking private lessons at the medical school of St. Louis (Missouri) University. In 1852 she traveled to Rome to study under the British sculptor John Gibson (Gibson, John) while living with an older friend, the actress Charlotte Cushman (Cushman, Charlotte Saunders). As Hosmer developed as an artist, she became a favourite in the circles of English and American expatriates in Rome, counting Robert (Browning, Robert) and Elizabeth Barrett Browning (Browning, Elizabeth Barrett) among her friends. A group including Hosmer and fellow sculptors Edmonia Lewis and Emma Stebbins was later famously, and slightly disparagingly, referred to as the “white marmorean flock” by the author Henry James (James, Henry).

 In 1856 Hosmer delivered her first commissioned work, Oenone, to the father of a former classmate in St. Louis, and in 1857 her second, Beatrice Cenci, went to the St. Louis Mercantile Library. Her next piece, an amusing figure of Puck (1855), proved a great success: 50 copies were sold, including one to the prince of Wales (later Edward VII). In 1860 she was commissioned by the state of Missouri to produce a monumental bronze statue of Senator Thomas Hart Benton (Benton, Thomas Hart); the finished work was placed in Lafayette Park, St. Louis, in 1868. Hosmer exhibited Zenobia, Queen of Palmyra in London with great success in 1862; one version was purchased by the Chicago financier Potter Palmer for his luxurious home. The sculpture's popularity was such that numerous bust-sized versions were carved to meet demand. In 1865 her Sleeping Faun was purchased by Sir Benjamin Guinness for the city of Dublin. Other notable works by Hosmer from this period include Walking Faun, Browning Hands, Death of the Dryads, Siren Fountain, and Heroine of Gaeta, a figure of the queen of Naples that she unveiled in 1871.

      Until the end of the century Hosmer lived mainly in England, making frequent visits to Rome. She maintained a large studio and enjoyed a considerable income from her work. Her position as the foremost American female sculptor of the century was unchallenged during her lifetime, although critical estimation of her Neoclassical style never afterward placed her in the first rank of artists. Her last major work, a statue of Queen Isabella of Spain commissioned by the city of San Francisco, was unveiled in 1894. From roughly 1900 she lived in Watertown, Massachusetts.

Additional Reading
Cornelia Carr (ed.), Harriet Hosmer: Letters and Memories (1912); Dolly Sherwood, Harriet Hosmer, American Sculptor, 1830–1908 (1991).

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Universalium. 2010.

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