Laura A. Macaluso participated in a 100 Cities / 100 Memorials webinar about the best practices for conservation of WWI memorials.
uring her participation, she was so articulate and informed on the subject, I asked if she would please contribute some blog posts to our endeavor.
We are all fortunate that she agreed. Laura has put together an wonderful three part series of blog posts profiling a Doughboy Memorial project in Connecticut. We invite you to read, learn and comment. Most of all we want to thank Laura. Her knowledge and insight is formidable. Here is PART 1.
This is a story about a monument to a doughboy.
It's not the earliest, largest, or most expensive American monument to World War I, and it wasn't made by a well-known artist. On the surface, it appears to be a common type of monument, one of hundreds of bronze doughboys installed in the post-war years in cities and towns across the United States.
There are doughboys in Provincetown on Cape Cod, in Chicago, in towns across the American south such as Lynchburg, Virginia where I live, and several in New York City alone. But, even though, as Jennifer Wingate writes in her book Sculpting Doughboys, that "World War I memorials as whole ultimately reflect a surprising degree of individuality," for many bronze monuments—but especially those dedicated to the Great War—the fullness of the monuments' meaning fell apart in the decades after the deaths of the last World War I veterans.
The local stories embedded in these works of art and memorialization are just now coming back together, thanks to the efforts of programs such as the World War One Centennial Commission's 100 Cities/100 Memorials. I've been acquainted with the Timothy Ahearn Memorial for fifteen years, but am only now understand what role the large bronze doughboy played in the City of New Haven's memory of World War I.
It took a long time to get here; when I first worked on the conservation treatment of the monument, the centennial of the Great War was not on anyone's radar, and the doughboy was just another neglected monument, covered in overgrown shrubbery, one object in a city full of such objects.
Image above shows the Timothy Ahearn Memorial, Karl Lang, 8.5' height of bronze plus 6' (base), 1937, West River Memorial Park, New Haven, CT. Photograph by William Sacco, 2016. The memorial stands at the corner of Ella Grasso Boulevard and Derby Avenue, heavily trafficked routes into the city. Although first intended for Fair Haven, an Irish-American neighborhood where Timothy Ahearn and many members of the 102nd Regiment hailed from, the monument was placed in West River Memorial Park—itself intended as a "new memorial parkway" with a lagoon along the Boulevard, although the Ahearn Memorial was the only monument ever installed.
Conservation treatment of the Timothy Ahearn Memorial done by Francis Miller of Conserve ART, LLC, September 2001. Miller washed and gently scrubbed the monument, then heated the metal with a propane torch, applying a thin protective coating and then a thin layer of wax. This treatment should be repeated regularly, but, likely hasn't been done since 2001, leaving the monument exposed once again to the elements. Pitting, discoloration and the corrosion of the bronze surface continues without cyclical maintenance. The limestone base was also washed, but, its material surface is less susceptible to the elements as compared to bronze.
"New Haven's Park Monuments: A Brief Introduction," written by Laura A. Macaluso for the Elm City Parks Conservancy, 2001.
But, that cycle of interest, care and funding ended, too, and now another decade has passed. And, once again, the Timothy Ahearn Memorial is looking neglected and worn, streaking again appearing on the bronze, likely due to its exposure at the corner of two heavily traveled avenues which are automobile access routes into the city. Unlike the largest American cities—New York, Los Angeles and Boston, for example—that have active conservation and maintenance programs for their works of public art, most cities do not, thus an opportunity to kick-start monuments conservation around World War I should be grabbed quickly, such opportunities are rare these days! None of us will be around for the next centennial event, but, with some work, the monuments and memorials will be.
The next blog post in this series will look at the creation and installation of the Timothy Ahearn Memorial under the Federal Art Project of the Works Progress Administration (WPA).
BLOG POST LINKS
Jennifer Wingate, Sculpting Doughboys, Memory, Gender, and Taste in America's World War I Memorials (Surrey, England: Ashgate Publishing Company, 2013). **The book is prohibitively expensive, but, you can read about her work highlighted by the "BackStory with the American History Guys" at http://backstoryradio.org/2014/09/19/the-great-wars-forgotten-monuments/ or read her article in American Art (vol. 19, no. 2, Summer 2005): 26-47 here:
Wingate served as one of the juror's on the World War One Centennial Commission's memorial design competition.
Laura A. Macaluso, Ph.D., holds degrees in art history and the humanities from Southern Connecticut State University, Syracuse University in Italy and Salve Regina University.
She has worked as a grants writer and curator in historic sites, museums, art, and park organizations. She held a Fulbright at the Swaziland National Museum in 2008-2009, and returned in 2010 under an Ambassador's Fund for Cultural Preservation award from the State Department. She curated the exhibit "An Artist at War: Deane Keller, New Haven's Monuments Man" and authored the accompanying article in Connecticut Explored magazine (Volume 13, No. 1, Winter, 2014/2015).
Laura is the author of Historic Treasures of New Haven: Celebrating 375 Years of the Elm City (The History Press, 2013) and Art of the Amistad and the Portrait of Cinqué (American Association of State and Local History/Rowman & Littlefield, 2016).
Her forthcoming book, New Haven in World War I, was endorsed by the United States World War One Centennial Commission (www.worldwarIcentennial.org). The book will be accompanied by an article in the spring 2017 issue of Connecticut Explored.
In addition, she has written articles, blog posts, and book reviews for Material Culture, The International Society for Landscape, Place, and Material Culture; Nineteenth Century; AASLH; National Council on Public History; Collections, A Journal for Museum and Archives Professionals, and Adventures in Preservation. She lives with her husband Jeffrey Nichols, the President/CEO of Thomas Jefferson's Poplar Forest, in Lynchburg, Virginia.