Pioneer Mother Research Articles

Pioneer Mother Monuments: Constructing Cultural Memory by Cynthia Culver Prescott (review)

Pioneer Mother Monuments: Constructing Cultural Memory by Cynthia Culver Prescott (review)

Prescott, Cynthia Culver. Pioneer Mother Monuments: Constructing Cultural Memory.

Prescott, Cynthia Culver. Pioneer Mother Monuments: Constructing Cultural Memory.

Monuments to Midwestern Pioneer Mothers and Native Women

Monuments to Midwestern Pioneer Mothers and Native Women Cynthia C. Prescott (bio) Local sculptor John K. Daniels's 1936 monument for Minneapolis, Minnesota's new Pioneer Park bore striking similarities in style and meaning to other early midwestern pioneer monuments. Click for larger view View full resolution Fig 1. John K. Daniels, Pioneers Monument, Minneapolis, Minnesota, as of March 2013. Photo by author. [End Page 21] Figurative sculptures honored Euro-American settler men's hard work hewing farms out of the wilderness, accompanied by a self-sacrificing "pioneer mother" symbolizing the arrival of White Christian culture on the frontier. A bas relief on the reverse of the monument nodded to French settlement of the region by depicting Native American men—but no women—welcoming French explorers to their homelands. While dozens of monuments erected across the United States by women's clubs in the early twentieth century emphasized women's roles carrying White "civilization" westward, Daniels's placing of his pioneer mother figure in a supporting role was typical of many midwestern monuments. Most midwestern statues glorified White men for conquering the wilderness that Native men yielded, portrayed White settler women as supporting players to their men, and erased Native women's presence from the region altogether. This essay will argue that in contrast to better-known monuments in the Far West, which largely featured "cowboys and Indians" memories of the Old West or solo pioneer mothers embodying Euro-American civilization, most midwestern monuments erected between the 1890s and 1930s emphasized the process of U.S. westward expansion or White homemaking.1 Midwestern pioneer monuments, which outnumbered those in the Far West, celebrated the family values long associated in popular memory with America's supposed rural heartland. Monuments erected in the Midwest early in the twentieth century—like Minneapolis's 1936 Pioneers Monument—tended to emphasize White settler men's hard work establishing new farms and communities. Midwestern pioneer mothers typically appeared as self-sacrificing supporting characters—again like the female figure in Minneapolis's Pioneers—emphasizing pioneer men's good intentions. Contemporaneous monuments erected in former Spanish and Mexican territories (including California, Arizona, and Texas) grappled in various ways with the persistence of Indigenous and Spanish-speaking populations. A few in the Midwest portrayed Native men yielding to White male explorers or settlers prior to the arrival of White women, or hinted at European immigrant influences, but most ignored non-Anglo-American residents. Native women appeared only rarely as symbols of Indigenous acquiescence to White manhood. Recent decades have seen a resurgence in interest in public statuary throughout the United States. Midwestern communities are once again erecting monuments to the region's nineteenth-century residents. But instead of passive, self-sacrificing White mothers standing by their men, [End Page 22] Click for larger view View full resolution Fig 2. Dale Lamphere, Dignity of Earth and Sky, Chamberlain, South Dakota, as of October 2021. "Woman standing near tall Dignity statue on a bluff overlooking the Missouri River off Interstate 90 near Chamberlain, South Dakota." Photo by Glenn Nagel/Alamy Stock Photo. twenty-first-century pioneer monuments portray more active and vibrant female characters. Moreover, some Midwesterners are vocally challenging the racial implications of earlier imagery. Calls for more inclusive monuments have begun to bear fruit. In 2016, Chamberlain, South Dakota, erected Dignity of Earth & Sky, a sculpture of a solo Native American woman. Far from yielding or disappearing in [End Page 23] the face of White settlement, the Native woman stands proudly, actively displaying a star quilt representing Lakota and Dakota culture that adapted and responded to Euro-American influences. While not as imposing as Chamberlain's fifty-foot-tall Dignity, other midwestern communities have also begun to honor both Native and White women as community leaders. Early midwestern pioneer monuments erased the region's Indigenous, Métis, and other non-Anglo populations to an even greater extent than did those installed in the Far West. Most midwestern frontier-themed monuments depict middle-class White family values made possible by masculine persistence and maternal sacrifice. But, like western pioneer monuments, midwestern monuments have grown more diverse and inclusive in recent decades. Monuments to European immigrant groups portray their subjects as...

Pioneer Mother

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Review: Pioneer Mother Monuments: Constructing Cultural Memory, by Cynthia Culver Prescott

Review: <i>Pioneer Mother Monuments: Constructing Cultural Memory</i>, by Cynthia Culver Prescott

Pioneer Mother Monuments: Constructing Cultural Memory. By Cynthia Culver Prescott. (Norman: University of Oklahoma Press, 2019. vii + 389 pp. Illustrations, maps, notes, bibliography, index. $39.95.)

<b> <i>Pioneer Mother Monuments: Constructing Cultural Memory.</i> </b> By Cynthia Culver Prescott. (Norman: University of Oklahoma Press, 2019. vii + 389 pp. Illustrations, maps, notes, bibliography, index. $39.95.)

Review: Pioneer Mother Monuments: Constructing Cultural Memory, by Cynthia Culver Prescott

Review: Pioneer Mother Monuments: Constructing Cultural Memory, by Cynthia Culver Prescott

Review: Pioneer Mother Monuments: Constructing Cultural Memory, by Cynthia Culver Prescott

Review: <i>Pioneer Mother Monuments: Constructing Cultural Memory</i>, by Cynthia Culver Prescott

Memory on the Move: Confronting Indigenous and Settler Colonial Commemorations in Stone and Bronze

Memory on the Move: Confronting Indigenous and Settler Colonial Commemorations in Stone and Bronze Christine M. DeLucia (bio) Lisa Blee and Jean M. O’Brien, Monumental Mobility: The Memory Work of Massasoit. Chapel Hill NC: The University of North Carolina Press, 2019. 288 pp. Figures, notes, bibliography, index. Paperback. $29.95. Cynthia Culver Prescott, Pioneer Mother Monuments: Constructing Cultural Memory. Norman OK: University of Oklahoma Press, 2019. 408 pp. Figures, notes, appendix, bibliography, index. Hardcover. $39.95. Thousands of visitors trek through Plymouth, Massachusetts each year, seeking connections with the iconic terrain of English colonial settlement that took shape within longstanding Wampanoag homelands of Patuxet. Their numbers will likely grow in 2020, the 400th anniversary of Anglo-American colonization in this corner of the Atlantic World. Many gravitate toward “Plymouth Rock,” seemingly unaware of or undeterred by the fact that the rock’s purported role as a Pilgrim stepping-stone is a fiction of antiquarian remembrances. These crowds may or may not notice the towering bronze statue situated immediately behind the rock on Cole’s Hill. The statue represents the seventeenth-century Pokanoket Wampanoag leader 8sâmeeqan, as his name is spelled by the present-day Wôpanâak Language Reclamation Project, who met and negotiated with the Pilgrims following their arrival in 1620. The casting is the handiwork of Cyrus Edwin Dallin, an influential American sculptor who had specific intentions when he produced Massasoit for the 1921 Pilgrim tercentenary (“Massasoit” being a Wampanoag leadership title). Yet the meanings of Massasoit could never be neatly pinned down. The statue and its myriad replicas have been pivotal objects in debates over memory and meaning in Indigenous and settler colonial contexts, as Lisa Blee and Jean M. O’Brien detail in their study of the statue’s surprisingly far-flung transits. Dallin (1861–1944) was born during the U.S. Civil War and died during the Second World War, and over the course of his long career he sculpted many figural works pertaining to American history, Native Americans, and [End Page 82] potent ideas of “pioneering” and the “frontier.” Raised in Utah Territory in close proximity to Ute, Shoshone, and other Native communities navigating tremendous upheaval and violence, Dallin developed vivid (mis)perceptions of Native people in regional as well as continental pasts and presents. He sculpted stylized “Indians” in works like his four-part The Epic of the Indian, which concluded with the iconic equestrian sculpture Appeal to the Great Spirit installed outside the Museum of Fine Arts in Boston. Dallin’s oeuvre is one of the common threads linking Monumental Mobility and historian Cynthia Culver Prescott’s Pioneer Mother Monuments, a wide-ranging survey of monuments paying gendered homage to U.S. westward expansion. Among the scores of monuments that Prescott scrutinizes is Dallin’s lofty bronze Brigham Young Pioneer Monument that he produced for Salt Lake City. Epitomizing particular forms of Anglo-American masculinity and patriarchy, the Young statue in many respects fits with Dallin’s larger oeuvre centered on influential men, Native as well as colonial. Less well-recognized is Dallin’s interest in monumentalizing women. As Prescott demonstrates in her careful reconstruction of the development and installation of Pioneer Mother (End of the Trail) in his hometown of Springville, Utah, Dallin tapped into a deeply rooted monumental pattern of using representations of Euro-American women to address present-day social dynamics and shifting gender norms. For Pioneer Mother, Dallin drew upon a likeness of his own mother, Jane Hamer Dallin, creating a half-bust bearing a wide sunbonnet atop a pedestal with a bas-relief featuring an ox-drawn covered wagon. As with scores of other “pioneer women” monuments, its representational frame included not a single Indigenous person, not even in the most grossly stereotypical form, conveying an impression of uncontested westward colonization and hardy frontier womanhood. Yet the bronze visage’s placid expression belied simmering controversy, some of which bubbled up during the monument’s dedication. Years earlier the Dallin family became estranged from the Church of Jesus Christ of Latter-day Saints (LDS) and socially ostracized in Mormon Utah, while Cyrus Dallin’s eastward transits raised questions among Utah residents about Dallin’s loyalty to...

Pioneer Mother Monuments: Constructing Cultural Memory by Cynthia Culver Prescott

Pioneer Mother Monuments: Constructing Cultural Memory by Cynthia Culver Prescott

Rats

Rats Christina Stoddard (bio) A team in a lab trained rats to be terrified of the smell of cherry blossom,which took electric shocks and patience. It worked so well that when they bred the rats and piped a slight cherry scentinto the babies' cage, each new generation trampled one another in panic. A successful corruption in the code. I have feltsomething like this, my own ribosomes spliced for two hundred years with fear and obedience, a reverencethat I now struggle to leave burning behind me like a field, and when I finally gave in to the vowa man asked me to make, the weight of saying yes pressed down on my throat until it closed. In dreamsmy pioneer mothers turn me from side to side to assess my teeth and measure my hem. They followed a prophetover the plains until their shoes wore through, killing as they went and still calling themselves godly.Now that I am making a covenant worth twelve hundred miles of shallow graves and waist-highprairie grass, all my rag-wrapped ghosts [End Page 53] rise up from the banks of the North Platte and the Sweetwaterto offer best wishes, to tell me that heaven is mine again. But this ring I've agreed tois a bullying little prince. It yanks out my hair. Its pronged cathedral clogs with bread doughwhen I punch down the dome for a second resurrection. It slyly etches its likeness in granite and glassand I have never been careful with my hands. I can't stop clawing at its endless disaster,the flesh underneath growing welted and raw. From the kitchen window I can see our twin cherry trees,their branches just beginning to flower. [End Page 54] Christina Stoddard Christina Stoddard is the author of HIVE, which won the 2015 Brittingham Prize (University of Wisconsin Press) and was a finalist for the 2016 Washington State Book Award in poetry. She is from Tacoma, WA and has worked in the Czech Republic and Japan teaching English as a foreign language. She now lives in Nashville, TN where she is the managing editor of an economics journal. Her poems have appeared in Crab Orchard Review, Tupelo Quarterly, storySouth, and Iron Horse Literary Review, and she has been a finalist for Best of the Net. Christina is an Associate Editor at Tupelo Quarterly and Managing Editor at The Account: A Journal of Poetry, Prose, and Thought. www.christinastoddard.com. Copyright © 2020 Pleiades and Pleiades Press

Pioneer Mother Monuments: Constructing Cultural Memory by Cynthia Culver Prescott

Pioneer Mother Monuments: Constructing Cultural Memory by Cynthia Culver Prescott

Pioneer Mother Monuments

Review of: Pioneer Mother Monuments: Constructing Cultural Memory, by Cynthia Culver Prescott.

Representing the Ideal American Family

Communities throughout the U.S. West erected monuments to white pioneer mothers in the late 1920s. While other western sculptors’ interest in frontier women soon faded, Avard Fairbanks continued to produce prominent public monuments to pioneer women and families for the next fifty years. Fairbanks’s pioneer monuments provide a valuable case study for examining the ways in which changing social norms influenced public monuments over the course of the twentieth century. Focusing on Avard Fairbanks’s fifty years of pioneer-themed monuments highlights the sculptor’s role in transforming idealized images of settler families from objects of purely regional memory into a national American family ideal.

Empress San Francisco: The Pacific Rim, the Great West and California at the Panama-Pacific International Exposition by Abigail M. Markwyn (review)

Reviewed by: Empress San Francisco: The Pacific Rim, the Great West and California at the Panama-Pacific International Exposition by Abigail M. Markwyn Sherry L. Smith EMPRESS SAN FRANCISCO: The Pacific Rim, the Great West and California at the Panama-Pacific International Exposition. By Abigail M. Markwyn. Lincoln: University of Nebraska Press. 2014. The 1915 Panama-Pacific International Expedition (PPIE) was very much a creature of its time. The same can be said for Abigail Markwyn’s account of the fair. Celebrating completion of the Panama Canal and its consequent boon for the West Coast, exposition organizers championed muscular imperialism, Anglo and male dominance, technological achievement, and a dynamic city’s remarkable ability to recover from the devastation of earthquake and fire. These themes now typify our understanding of the early twentieth century’s dominant moods. Markwyn’s book, however, challenges that single dimension “narrative” and convincingly argues that San Francisco’s elite businessmen, who created the exposition, could not solely control its meaning. Rather, numerous interests, nations, races, and ethnicities, plus women, contested the PPIE’s official message and asserted their own views upon the exposition. The fair became a contested space where various groups jockeyed for social, political, and explanatory power. Rather than an escape from Progressive era politics—a place simply to have fun—it became in Markwyn’s rendering yet another landscape where Americans fought over meaning. Her emphasis on power, particularly regarding issues of race, class and gender, typifies today’s social history. It is a valuable and viable approach. But if one wants to know more about the actual experience of attending the exposition, what it meant to most people who attended, or any one of a number of alternative ways of looking at the event, one must look elsewhere. To be sure, much of the fairground’s art and architecture trumpeted American expansion across the continent, the technological wonder of the Panama Canal, and the nation’s presumed destiny to dominate the Pacific in the future as primarily masculine and white accomplishments. Markwyn has the good sense to probe beyond the outward appearances, however. She quickly uncovers the “others” who insisted on having a voice, as well. Most notably were white women who, among other things, created a Woman’s Board, since the official board was completely male. They did not particularly push for women’s rights, but they insisted on a prominently displayed pioneer mother statue—a nod to white women’s roles in American expansion. Hawaiian women, daughters of [End Page 115] white and nonwhite parents, donned shirtwaists and visibly challenged the supposed divide between the civilized and the primitive. The Congressional Union for Women established a booth, produced pageants and parades, and proselytized for a federal woman suffrage amendment. Over the course of the fair’s first seven months, they acquired 500,000 signatures on a petition demanding such an amendment and organized the very first national convention of women voters. Ten thousand men and women attended the convention pageant on the Court of the Universe grounds. African Americans asserted their position as equal citizens of the Bay Area by creating floats and participating in the Alameda County Day parade while refusing to sanction a racist and segregationist Negro Day. Local Catholics, Chinese, and Irish—objects of discrimination in everyday life—visited, worked and performed at the fair on their own terms as well. Latin American nations used the exposition to define themselves and to pursue their own economic interests, particularly hoping to attract investment capital to their shores. Of course, it is difficult to assess how successful any of these groups or interests were in shaping others’ perceptions of them. The larger point, however, is that they tried. Markwyn’s evidence is compelling, the research impressive, and the writing clear. Perhaps it comes as no surprise, one-hundred years later, that anything intending to speak for all of San Francisco would be contested. This close study of a fleeting but significant event underscores the diversity, vitality, and complexity of not only a city on the cusp of the continent and the century, but also the foundation upon which it, and the nation itself, continues to wrestle with fundamental questions...

Structural and compositional dynamics of a near-natural temperate deciduous forest in the central United States1

Abstract Pioneer Mothers' Memorial Forest is a unique largely undisturbed, mixed mesophytic hardwood forest in south-central Indiana, USA. We report on 26 years of change in community composition and structure; plots were previously sampled in 1978 and 1989. In 2004, we re-measured trees ≥ 5 cm in diameter for 153 permanent plots, as well as downed woody debris, and standing dead trees. In 1978, density was 718 stems ha−1 and basal area 26.2 m2 ha−1, but by 2004 density had decreased to 493 stems ha−1 with an increase in basal area to 31.4 m2 ha−1. Large density decreases were attributed to Acer saccharum, Sassafras albidum, Juniperus virginiana, and Cornus florida mortality, while basal area increased largely because of Liriodendron tulipifera and A. saccharum growth. The stand exhibited a reverse-J diameter distribution, but density in the lower diameter classes, < 15 cm, greatly decreased over time. The overstory (trees ≥ 25 cm) was dominated by A. saccharum, L. tulipifera, Quercus spp., and Fagus gran...

San Francisco’s Pioneer Mother Monument: Maternalism, Racial Order, and the Politics of Memorialization, 1907–1915

The 1907–1915 campaign to create San Francisco's Pioneer Mother Monument provides both a case study of conservative uses of maternalism and a window into the political mutability of maternalist rhetoric. Ella Sterling Mighels, a pioneer descendant, utilized the monument campaign to promote white women's moral influence over middle-class men, to argue against Asian immigration and labor unrest, and to inculcate old-fashioned moral values among urban children. Although some of Mighels's contemporaries cited pioneer mothers as proof of women's fitness for suffrage, Mighels herself used the pioneer mother to argue against suffrage. The final statue, created by the sculptor Charles Grafly, failed to encapsulate Mighels's multivalent political message and to express her ideals about gender, race, class, and morality.

From Feminist Theologian to Thealogian: The Life and Work of Carol P. Christ

In this article I shall be looking at the life and work of Carol P. Christ, ‘…pioneer and founding mother of the Goddess, women's spirituality, and feminist theology movements…’ charting her development from a student of theology, through feminist theology and into full-blown Goddess studies, or thealogy. 1I shall then focus on her continuing efforts to establish thealogy as a legitimate area for academic discourse. Although women's experiences are a legitimate source of theological reflection in feminist theology, Christ controversially draws on personal experience as material for her work on the sacred, which has opened her to criticism. However, there are voices that support thealogy as being both informative and transformative and rightfully belonging within the academic canon. I shall draw, in particular, upon the Introductions and Forewords of her books, as they contain much biographical information, knowledge of which is essential to an understanding of Christ's work.

The Journal of a Sea Captain's Wife, 1841-1845 by Lydia Rider Nye, Doyce B. Nunis, Jr.

Museum in 1935,and conserved and installed in the museum's sculpture court in 1998. Proctor isalso represented at the Metropoli tan Museum ofArt, BrooklynMuseum, Smith sonian American ArtMuseum, and numerous others, including theA. Phimister ProctorMu seum inPoulsbo,Washington, established in1997 by theartist'sgrandson.Monuments by Proctor are located inDenver,Washington, D.C., Pitts burgh, and other cities. Hassrick suggeststhathis supreme accomplishments are the equestrian, multi-figured Pioneer Mother inKansas City, Missouri, and the two-man, two-horse monu ment toRobert E. Lee inDallas, Texas. The monograph is spaciously designed and well organized and written.A seventyfive-page introductoryessay,divided into seven chapters, presents a chronological discussion of Proctor 's early life,development as an artist, happy marriage and family life, and successes and frustrations as he competed with his western art contemporaries Charles M. Russell and Frederick Remington as well as high style Beaux-Arts sculptors, especially followers of Daniel Chester French, rivalofProctor'smentor Saint-Gaudens. The essay is followed by a chronologi cal catalogue that illustrates and discusses each sculpture, providing information on patron-artist relations, significance of subject, date ofmodeling and casting, location, and other known versions. The catalogue is cited throughout the essay so that one can turn to detailed discussion of a particular work while reading the broader commentary in the essay. (In thediscussion ofOregon PioneerMother on page 89, citation is omitted for the catalogue entryon page 225 ? aminor but temporarily confusing discontinuity.) The book, situatingProctor in regional,na tional, and international contexts, is a valuable addition toAmerican art historical studies. It contributes to art scholarship about the Ameri canWest, on thebasis ofwhich Proctor staked his fame,and Northwest, which Proctorwooed and, inOregon to a surprisingdegree,won. The Journal ofa Sea Captains Wife, 1841-1845 By Lydia Rider Nye, edited byDoyce B. Nunis, Jr. Arthur H. Clark Company, Spokane, Wash., 2004. Photographs, maps, bibliography, appendices, index. 254 pages. $32.50 cloth. Reviewed byNancy Pagh Western Washington University,Bellingham Historian jo Stanley recently wrote about the need for books on women at sea. "How can gender issues be raised in a discipline (maritime history) that traditionally uses straightforward social and economic his tory approaches rather than drawing in tools available fromcultural studies, women's studies, and post-colonial studies?" she asked ina review essay inGender & History (April 2003, p. 136). The Journal of a Sea Captains Wife is a beautifully designed, traditional scholarly edi tion of Lydia Rider Nye's journal, including her account of traveling from Boston toHawai'i tomeet her husband and trade voyages to the PacificCoast. The book includes a prologue and epilogue, giving it some narrative shape, and numerous appendices ? including accounts of theBritish seizure ofHonolulu in 1842, King Ka mehameha Ill's restoration, and theCalifornia hide and tallow trade.Given the current inter est inwomen's accounts of sea travel,this text, promoted as "the only known journal kept by a wife of a ship captain during a voyage along the Pacific Coast prior to 1848" (although Frances Reviews 511 Barkley's 1787 account ofNootka predates it), will garner interest by feminists,social historians ofHawai'i, and economic historians interested in thehide trade. Nye herself points out, "I do not want for matter, but language,O that I had the pen of a readywriter" (p. 91). Unlike the fascinating journals of Caroline Leighton and Libby Bea man, Nye's writing lacks a sense of personality and reflection. Early entries wear a heavy mask ofpiety (theeditorfinds thisrhetoric"genuine"; I credit her fellow passengers, who were mis The Oregon Historical Society Press congratulates Lewis L. McArthur winner of a 2005 Merit Award for individual achievement from the American Association for State and Local History McArthurin2003 xvith the firstsixeditions ofOregon Geographic Names Lewis L. McArthur grew up learning about Oregon places. His father, Lewis A. McArthur, began research for the first edition of Oregon Geographic Names shortly after Lewis was born. After his father died in 1951, the younger McArthur con tinued the tradition, completing the fourth and preparing the fifth, sixth, and, in 2003, a seventh edition of what has become a classic reference work. He also serves on the Oregon Geographic Names Board and the Place Name Commis sion of theUnited States...

Wildlife and Western Heroes: Alexander Phimister Proctor, Sculptor by Peter Hassrick

Wildlife andWestern Heroes: Alexander Phimister Proctor, Sculptor By PeterHassrick Amon Carter Museum, FortWorth, Texas, in association with Third Millenium Publishing, London, 2003. Photographs, notes, bibliography, index. 252 pages. $60.00 cloth. Reviewed by Roger Hull Willamette University,Salem, Oregon ALEXANDER PHIMISTER PROCTOR (l860 1950),a promisingwildlife painter, turned tobronze sculpture in 1887,establishing himself as an animalier inthe traditionofAntoine-Louis Barye. He trained in France, won the Prix de Rome in 1898and a goldmedal at the 1900 Paris Universal Exposition, then assisted the great American sculptor Augustus Saint-Gaudens, whose example prompted him towork with hu man figures aswell as animals. Proctor's sculp tureembodies Beaux-Arts ideals that,especially in the United States,provided an elegant (and, in Proctor's hands, virile) alternativeto modernism in the earlydecades of the twentiethcentury. In this definitivemonograph on Proctor, PeterHassrick, formerlycollections curator at theAmon CarterMuseum, remindsus (through context ratherthan explicit argument) thatuntil after World War II,Beaux-Arts conservatismwas an honored current in American art. InProctor's case, academic traditionwas vitalized by subject matter particularly appealing toAmericans, especially men: thewild animals and heroic humans of theAmerican West. From the age of ten, Proctor grew up in Denver, and his background as a "Westerner" became central to his persona even though he spent long periods in France, Italy, New York, New England, and eventually Los Angeles. His feat of killing an elk and a bear on the same day in 1876,when he was sixteen,figures prominently in commentaries on his life (and is listed in thehelpful chronology at the end of thebook). The criticRoyal Cortissoz described him admiringly as "the naturalist-hunter and the sculptor",and Proctor himself believed that the skillsofhunter and sculptorwere related (p. 65).Hassrick explains thatforProctor, as forthe Teddy Roosevelt era generally, it was important to establish art and artists as masculine in a world at riskofbecoming overly feminine.That Proctor hunted and slayed animals while also preserving them in art and advocating for the protection of the West's natural resources indi cates amode of thought thatHassrick, without extensive commentary, attributes toattitudes of theProgressive era. Proctor frequently returned to Colorado and also traveled to the Pacific Northwest and Canada to hunt, hike, and camp. He had fam ilynear Seattle and saw theNorthwest as fertile ground forcommissions. Portland was particu larlyfruitful:in 1911, his work was exhibited at thenew PortlandArtMuseum, which purchased his Indian Warrior (1898; cast 1900-1902), the firstoriginal bronze sculpture to enter the col lection.Thus began a long, cordial relationship between Proctor and Oregon. Understandably, he was takenwith Portland: "Art appreciation here iskeener andmore discriminating than in any other Western city that I have evervisited" (p. 69). Proctor's Oregon commissions include theequestrianmonument toTheodore Roosevelt (dedicated 1922;Park Blocks, Portland), Circuit Rider (dedicated 1924;Capitol grounds, Salem), and Oregon PioneerMother (dedicated 1932; Uni versityofOregon, Eugene). He lived fora time near Pendleton, and his monument to Sheriff Til Taylor was dedicated there in 1929.Perhaps hismost aestheticallypleasingwork inOregon is thereliefof threestalkinglionscommissioned by Wilson B.Ayer in 1913, willed to thePortland Art Reviews 509 Museum in 1935,and conserved and installed in the museum's sculpture court in 1998. Proctor isalso represented at the Metropoli tan Museum ofArt, BrooklynMuseum, Smith sonian American ArtMuseum, and numerous others, including theA. Phimister ProctorMu seum inPoulsbo,Washington, established in1997 by theartist'sgrandson.Monuments by Proctor are located inDenver,Washington, D.C., Pitts burgh, and other cities. Hassrick suggeststhathis supreme accomplishments are the equestrian, multi-figured Pioneer Mother inKansas City, Missouri, and the two-man, two-horse monu ment toRobert E. Lee inDallas, Texas. The monograph is spaciously designed and well organized and written.A seventyfive-page introductoryessay,divided into seven chapters, presents a chronological discussion of Proctor 's early life,development as an artist, happy marriage and family life, and successes and frustrations as he competed with his western art contemporaries Charles M. Russell and Frederick Remington as well as high style Beaux-Arts sculptors, especially followers of Daniel Chester French, rivalofProctor'smentor Saint-Gaudens. The essay is followed by a chronologi cal catalogue that illustrates and discusses each sculpture, providing information on patron-artist relations, significance of subject, date ofmodeling and casting, location, and other known versions. The catalogue is...