POSTED BY Guest Blogger, ON March 13, 2013, Comments Off on Weathervanes and the “Windy City”
Recent blustery conditions in our fair city—remember, Chicago’s moniker is the “Windy City”—has caused me to reflect on the weathervanes in the American Folk Art gallery. Weathervanes have been part of the American landscape for many years; originally, they were introduced by English colonial settlers as an instrument to reveal wind direction, or as decoration for a rooftop. But they were also coveted by American folk art collectors of the early 20th century because of their visual impact as silhouettes, appealing to collectors’ and artists’ modern aesthetic.
A wonderful newly acquired weathervane (top image, left side) by Henry Driehaus (1860-1943, in his studio immediately above) from this time period was recently installed in the Grainger Gallery of American Folk Art at the museum. Above four silhouetted fish bearing the four cardinal points, Driehaus crafted a hunting dog obediently waiting behind his master and a Native American wielding a bow and arrow, with the exaggerated spikes of his headdress complementing the form of his pants and the bush below him. Born in the United States to Prussian immigrants, rural blacksmith Henry Driehaus trained as a smith in the European cities of Essen, Basel, and Zurich and learned ornamental ironwork in a monastery before returning to Pennsylvania in 1880. A few years later he opened a permanent shop in Hendricks Station, Frederick Township, where he executed multifaceted ironwork—from shoeing and ironing wagons to ornamental ironwork (such as andirons, coat hooks and hinges). This hand-wrought weathervane, which is actually signed by the blacksmith, illustrates Driehaus’s predilection for and specialization in decorative ironwork.
Complimenting the weathervanes in the gallery is a whirligig (top image, right side) made by Lithuanian immigrant Frank Memkus (1884-1965). Whirligigs have been made in America since at least the early 19th century. Unlike weathervanes, which functioned as indicators of wind direction, whirligigs were mainly intended for fun and ornamentation, and therefore, tend to be more personally decorated. Naturalized as an American citizen on May 24, 1945, Memkus could have made the whirligig as a commemorative gesture toward his newly adopted country. As a new American, he might have been inspired by his recent naturalization, in combination with the Allied victory in Europe, to construct this overtly patriotic object. It employs the colors red, white, and blue to highlight the nation’s flag, and atop it stands a saluting seaman surrounded by airplane propellers, which, along with the flags, whirl and flutter in the wind.
These objects (and so many others) may be viewed in the Grainger Gallery of American Folk Art! But we apologize in advance for the lack of wind.
—Monica Obniski, Assistant Curator of American Art
Image Credit: Image courtesy of Guy Reinert files, Winterthur Library