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Edward Ludwig Albert Pausch (September 30, 1856 – 1931) was a Danish-American sculptor noted for his war memorials.〔("Pausch, Edward Ludwig Albert," ) ''The Artists Year Book'' (Art League Publishing Association, 1905).〕 ==Life== He was born in Copenhagen, Denmark, the son of Henry and Annette P. Pausch. The family emigrated to Hartford, Connecticut when he was a child. He apprenticed for eleven years under Carl Conrads in Hartford, beginning at age 14. He studied under Domingo Mora in New York City for six years, and under Karl Gerhardt in Hartford for three years. In 1889, he joined sculptor J. G. Hamilton at the Smith Granite Company in Westerly, Rhode Island. He opened his own studio in Hartford in 1900, and moved it to Buffalo, New York the following year.〔(Edward Pausch to F. Edwin Elwell, 15 July 1903 ), from Metropolitan Museum of Art Libraries.〕 He married Julia Ellenberger of Hartford in 1878. Within hours of President William McKinley's assassination on September 14, 1901, Pausch was summoned from Hartford to Buffalo to make the death mask. He began work the following morning, and completed it in about a month.〔("The McKinley Death Mask," ) ''The New York Times'', November 19, 1901.〕 He later used it to model his McKinley statue (1903–05) in Reading, Pennsylvania. His most ambitious work is the George Washington Memorial (1889–91) in Pittsburgh, Pennsylvania. A one-and-one-half-lifesize equestrian statue carved out of granite, it depicts Washington as a 23-year-old colonel in the French and Indian War.〔(Washington Equestrian Statue ), from Babcock-Smith House Museum.〕 Pausch modeled the head on Houdon's bust. His most infamous work, ''Black Aggie'' (1906–07), is an unauthorized near-copy of Augustus Saint-Gaudens's 1891 Adams Memorial. General Felix Agnus thought he was ordering a casting from Saint-Gaudens's original molds for his family plot in Druid Ridge Cemetery, Pikesville, Maryland. John Salter, a granite supplier in Connecticut, misled Agnus and hired Pausch to model the freehand bronze copy.〔Daniel B. Krinsley, ("An Unexpected Rendezvous at the Cosmos Club on Lafayette Square," ) ''COSMOS Journal'' (1998).〕 Saint-Gaudens's widow sued Salter, and won a court judgment. Pausch's actions were publicly denounced by sculptors such as Karl Bitter and Daniel Chester French, which dealt a serious blow to his professional reputation.〔C.J. Mills, ''The Adams Memorial and American Funerary Sculpture, 1891–1927''. University of Maryland: Doctoral Dissertation, 1996, pages 218-19, 223-26.〕 The bootleg statue remained in the cemetery, and became the subject of ghost stories and urban legends. Following repeated acts of vandalism, it was removed and donated to the Smithsonian Institution in 1967 (as a work by Saint-Gaudens). Deaccessioned, it is now installed in the courtyard between the Cutts-Madison House and the National Courts Building in Washington, D.C.〔John Kelly, ("'Black Aggie': D.C. statue cloaked in superstition," ) ''The Washington Post'', August 18, 2012.〕 His studio was located at Delaware & Delavan Avenues in Buffalo, New York.〔("Pausch, Eduard L. A.," ) ''American Art Directory'' (1903).〕 He exhibited at the Albright Art Gallery in 1919.〔Sir Humphry Davy, ("Art in Every Day Life." (1919). )〕 Among his students were sculptors Robert D. Barr, Stanley Edwards, and William Stephenson.〔Thomas A. O'Connell, ("The Westerly Project, A Critical Review," ) from Babcock-Smith House Museum.〕 The spelling of Pausch's first name alternates between "Edward" and "Eduard." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Edward Ludwig Albert Pausch」の詳細全文を読む スポンサード リンク
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