GAETANO FEDERICI: (1880-1964) When Gaetano Federici came to America as a child, his story, like that of so many other immigrants, could have been lost to history. However, through his art, Federici established an estimable reputation, where talent, hard work and ambition brought him considerable acclaim. By the time of his death, Gaetano Federici had become as well-known as many of the celebrities, politicians and historical figures he had immortalized in bronze and marble for over fifty years. With more than forty of his statues in a two mile radius of Paterson City Hall, most Passaic County residents are familiar with at least some of his works. This exhibition will explore aspects of Federici s career, his personal life, and his legacy in shaping our community landscapes. Federici with some of his art students, circa 1940. From the Michael Cervino Memorial Collection, 2014.066.01 Study for Dublin Spring, 1931. From the Gaetano Federici Collection, 2013.023 Federici working on Monsignor John T. Woods, 1928. From the Michael Cervino Memorial Collection, 2014.066.01
ARTISTIC METHODS: SCULPTURES One distinct characteristic of Federici s work was his ability to capture the intimate details of his subject s face. Smiling or stern, the realistic nature of his sculptures can be attributed to a painstaking attention to detail. The sculptor s technique focused on the creation of a multitude of models, at various scales. These scale models allowed him to perfect details of clothing, hair and facial expression. Often nude models were created alongside clothed, to ensure accuracy. Sometimes additional scale models of features such as hands or faces were also made. Three Scale Models of Bishop Thomas McLaughlin, 1957. Studies of Columbus, 1953. Studies of Nathan Barnert, 1924. The public nature of many of Federici s commissions may have added pressure on the artist to create accurate representations of his subjects. Nathan Barnert was not only alive when his sculpture was started; he made a speech at its unveiling. Federici in his later life. Despite the infirmities of age, he never stopped creating. Photo from the Gaetano Federici Collection, 2013.023
ARTISTIC METHODS: RELIEF During the course of his career, Gaetano Federici produced a large number of reliefs. Many of these pieces can still be found today on school walls and public building interiors in Passaic County. Like his statues, Federici s attention to detail meant that each relief had several phases of production. The artist would begin by carving a relief in plaster. He would then make a mold of that relief (like a negative), also in plaster. He would continue to embellish the mold at this stage, adding and removing details. The mold would then be used to make a new positive, and the process would be repeated, each version becoming more refined until the final positive was cast in metal or carved in stone. Eleanor Egg, America s Champion,1932. This plaque commemorating track star Eleanor Egg was the first plaque to embellish the walls of Hinchliffe Stadium when it opened in August 1932. Tribute to Arcangelo Corelli, a nude study 1938. Like many of his sculptures, Federici made nude versions of many of this relief pieces, in order to perfect every detail. From the Michael Cervino Memorial Collection, 2014.066.01 Untitled sketch by Gaetano Federici. From the Michael Cervino Memorial Collection, 2014.066.01 Tribute to Arcangelo Corelli, 1938. After completion, this plaque was donated by the artist to the City of Paterson and installed in City Hall, where it remains to this day. From the Michael Cervino Memorial Collection, 2014.066.01
Gaetano Federici Sculptor EARLY LIFE Gaetano Federici was born to Antonio and Teresa Federici in Castelgrande, Italy in 1880. He first came to Paterson with his mother at age seven. His father Antonio, who had moved to America ahead of his family, was a mason. Young Gaetano realized early in life that he was not interested in the construction of buildings, so much as their decoration. In his early career, Federici apprenticed with a number of New York based sculptors. Through A class photograph including a young Gaetano Federici (top row, far right). these apprenticeships Federici was able to work on Moretti s Vulcan, contribute to the Pan-American Exposition in 1901, and hone his skills. The Federici family studio located at 369 Market Street, Paterson, under construction, circa 1910. When Gaetano returned to Paterson in 1904, he began working in his father s construction firm, Armezzani, Federici & Sons. One of the firm s first projects was the facade of Our Lady of Loreto Church in Brooklyn (1907-1908). In addition to his responsibilities with the firm, Federici was always creating, both privately in his studio and for clients. He was soon identified as a creator of public sculpture with the completion of his Congressman James F. Stewart statue, commissioned by the City of Paterson in 1905. The family of Antonio and Teresa Federici circa 1912. Gaetano is standing in the center of the back row.
PUBLIC ART AND THE COMMUNITY Like many artists throughout history, Gaetano Federici accepted a great number of private commissions. One of the primary reasons his work is widely recognizable today is the great number of public statues he was responsible for creating. The dedication of Haledon s World War One Memorial, Roll of Honor, 1921. Polish-American organizations gather in front of the Count Kazimierz Pulaski, circa 1961. From the Michael Cervino Memorial Collection, 2014.066.01 Not only are these statues located in outside spaces such as parks and cemeteries, they are also sprinkled throughout the interiors of schools, civil buildings and sports arenas. A number of Federici s public sculptures were not just situated in the community, they were also funded by the community. Throughout the 1910s, 1920s and 1930s funds were solicited by various committees to erect monuments honoring local politicians, historical figures and Passaic County s soldiers. Many of the sculptures underwritten by with contributions from the citizens of Passaic County, including children. Federici unveiling his Memorial to the Second World War, at the rededication in West Side Park, 1949. From the Michael Cervino Memorial Collection, 2014.066.01
ARTIST AND PATRON: GAETANO FEDERICI & HARRY B. HAINES One of the more interesting components of Gaetano Federici s success as a public sculptor is his close, lifelong relationship with Harry B. Haines, editor and publisher of the Paterson Evening News. Their first project together was a plaque memorializing Haines father, news publisher Edward B. Haines (1911). Haines became a patron and promoter of Federci and his art. Haines became a powerful force in the Paterson community, allowing him to exercise commanding influence over many civic projects. The publisher played a major role when committees were established to create public sculptures. Most likely through Haines recommendation, Federici received many significant commissions throughout his career, including Andrew McBride (1947), Columbus (1953), the Plaza of Memories (1949). Federici and Haines pose with the completed Andrew McBride, 1947. A letter written by Haines to Mrs. Federici following her husband's death in 1964. The tone of this letter demonstrates the feeling of ultimate friendship shared by Federici and Haines. Federici highlighting the carvings on the Curule Chair in the Plaza of Memories, October 1948.
THE ARTIST AS HUSBAND AND FATHER On April 29, 1908 Gaetano Federici married Orsola Alois. They were to spend the next fifty-six years together. They were joined by Antonio Canova in 1909 and Teresa Maria in 1914. As was true in his early career, family would remain a vibrant motivational force throughout his life. Orsola, and their children not only provided support and love, but often acted as Federici s muses and models. Today Gaetano and Orsola Federici rest in Holy Sepulcher cemetery with his parents Antonio and Teresa. The family memorial includes an angel with outstretched arms (1904). Gaetano and Orsola Federici in their garden. Gaetano and Antonio taking a break from modeling. From the Gaetano Federici Collection, 2013.023 Orsola with her son Antonio s family. Top row Antonio, Tony, Brian and Patricia. Seated is Orsola, Terry and Antonio s wife Vera.
THE ARTIST AND HIS SUBJECTS Throughout his life and sculptural career, Federici s art was inspired by a variety of influences. His treatment of religious subjects demonstrates his strong Catholic roots. The classical portrayal of many of his allegorical figures can be linked to the statues and art of his native Italy. Such influences alone are not what makes Federici s art so important to Passaic County s history. During the course of his life, Federici portrayed many prominent locals. For over five decades he immortalized politicians, religious leaders, athletes, and entertainers. These memorials in bronze and marble shaped our community and inspired future generations. Federici working on his bust of Lou Costello, with the comedian s mother Helen looking on, 1943. Christopher Edell, 1954. From the Michael Cervino Memorial Collection, 2014.066.01 Ingrid Bergman as Joan of Arc, 1949. From the Gaetano Federici Collection, 2013.023