The Spirit of Enterprise

For the Ellen Phillips Samuel Memorial, the trustees of the Fairmount Park Art Association (now the Association for Public Art) imagined a large bronze representing America’s “Constructive Enterprise” – ”the vigor, the power of harnessed nature, or the strength of men harnessing nature and making it conform to their uses and desires.”

“Here, the eternal battle has ended, and man and bird are united in a common purpose.”

The commission was granted in 1950 to Jacques Lipchitz. After numerous studies, the casting in 20 separate pieces began and the massive bronze was installed in the Memorial’s North Terrace in 1960. It was moved to the Central Terrace in 1986 to increase its visibility from Kelly Drive.

Lipchitz’s powerfully optimistic treatment reflects his life-long idealism. The muscular pioneer surges forward, one hand shading his eyes as he scans the horizon, the other holding a caduceus. Echoing his movement is a great eagle, wings outstretched. The link with his Prometheus Strangling the Vulture located outside the Philadelphia Museum of Art is apparent, and many have been tempted to connect the two: here, the eternal battle has ended, and man and bird are united in a common purpose. Lipchitz was particularly pleased by the quotation from Theodore Roosevelt inscribed on the pedestal: “Our nation, glorious in youth and strength, looks into the future with fearless and eager eyes, as vigorous as a young man to run a race.”

The Ellen Phillips Samuel Memorial

The Association for Public Art established and maintains the Ellen Phillips Samuel Memorial, which includes three terraces and seventeen sculptures that were commissioned over a period of thirty years.

Ellen Phillips Samuel (1849-1913) was an active member of the Fairmount Park Art Association (although she could not serve on the all-male Board) and a philanthropic supporter of many cultural activities in Philadelphia. When she died in 1913, she left the bulk of her estate in trust to the Art Association, specifying that the income be used to create a series of sculptural monuments “emblematic of the history of America.” Her bequest was said to be one of the largest of its kind in the country at the time. When these funds became available upon the death of her husband J. Bunford Samuel in 1929, the Association appointed a planning committee, which decided that the Samuel Memorial should express major ideas and spiritual forces as well as chronological developments in American history.

To identify sculptors for the Samuel Memorial, the committee organized three international exhibitions at the Philadelphia Museum of Art. These Sculpture Internationals, in 1933, 1940, and 1949, brought together the works of hundreds of sculptors from the United States and abroad. The exhibitions contributed not only to the Samuel Memorial but also to the general awareness of contemporary sculpture throughout the Philadelphia area and beyond.

Central Terrace

Construction of the Ellen Phillips Samuel Memorial began with the Central Terrace. Six sculptors were commissioned to create two large bronze monuments and four complementary figures in limestone. These works express the twin themes of America’s westward expansion and the new nation’s welcome to immigrants from other lands.

Other Sculptures in the Central Terrace of the Ellen Phillips Samuel Memorial

Spanning the Continent (1937) by Robert Laurent

Welcoming to Freedom (1939) by Maurice Sterne

The Miner (1938) by John B. Flannagan

The Slave (1940) by Hélène Sardeau

The Immigrant (1933) by Heinz Warneke

The Ploughman (1938) by J. Wallace Kelly

Content on this page was adapted from Public Art in Philadelphia by Penny Balkin Bach (Temple University Press, 1992). Bach was the longtime Executive Director of the Association for Public Art, working with the organization from 1980 to 2022.