Daniel Chester French and
Evelyn Beatrice Longman

This on-line exhibition explores the close relationship between Daniel Chester French and Evelyn Beatrice Longman, featuring sculpture from the Chesterwood collection and many historical photographs from the Chesterwood Archives. Longman was French’s only female studio assistant, and thanks to the assistance of her mentor, she went on to have a long and successful career.

Evelyn Beatrice Longman arrived at the New York City studio of Daniel Chester French in December of 1900. She clasped letters of introduction, including one from French’s older brother, William Merchant Richardson French, the revered first director of the Art Institute of Chicago. French immediately wrote to his brother on December 30, “Miss Longman presented herself to me with your and other letters...” Born in Ohio, Evelyn Beatrice Longman (1874–1954) was inspired to study sculpture after a visit to the 1893 World’s Columbian Exposition in Chicago; Adeline Adams quotes Longman as uttering: “I could do such things if I had the chance.” She took sculpture classes at the Art Institute of Chicago with Lorado Taft from 1898 to 1900, graduating from a four-year program in just over two. Moving to New York, she worked with Hermon Atkins MacNeil and Isadore Konti on sculptural decorations for the upcoming 1901 Pan-American Exposition in Buffalo before presenting herself to French at his studio.

Longman's talent and willingness to take on difficult challenges endeared her to French. “I saw some of her work . . . the other day and it entirely vindicates your recommendation.” French wrote to his brother. He sent for Longman to help with the lettering for the bas-relief bronze doors he was creating for the Boston Public Library, a task he disliked. “She did it beautifully and stayed on to do more” wrote Margaret French Cresson in "Journey Into Fame." Thus began French and Longman’s work together, which evolved into a mutually beneficial professional relationship as well as a deep and long-lasting personal friendship. Longman would become French’s only female studio assistant as well as a beloved member of the extended French family. She became a highly successful, much sought-after sculptor and her works can be found in many major museums collections. Large-scale works, such as monuments and memorials, are located in cemeteries, parks, and other public sites throughout the country.

This exhibition explores the relationship between Longman and French through objects in Chesterwood’s collection. Also included are historical photographs from the Chesterwood Archives, Chapin Library, Williams College. French kept many photographs of Longman’s work, which he would include in letters recommending her for commissions. Some of these "working photographs" are included in this exhibition.

Online exhibition created by Dana Pilson, Curatorial Researcher