Entrance To Rosamond Labyrinth Found

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“Worried that over time his work would lose significance, the sculptor behind Mount Rushmore proposed a secret room  behind Abraham Lincoln’s hairline, that would contain details of the work done on the mountain and of the society that created it.”

Why carve out such a big room that only contain a titanium box? What society are they talking about? Borglum was the Patron of my kindred, John and Jessie Fremont who was the first to emancipate slaves in America. President Abraham Lincoln destroyed the Fremont’s life. Why would they allow his image to be carved at Mount Rushmore? I believe I know what was stored in this Secret Room. I will reveal this in my book.

John was born in France. I suspect his family owned ancient secrets that he told his future wife, Jessie Benton about. Her father was Senator Thomas Hart Benton, who sent his son-in-law West to blaze the Oregon Trail. I believe John was behind the Grizzly Bear Rebellion that led to California becoming a State. But, there is evidence this was not his intention. There was talk of making the Golden State a New Nation.

Jon Presco

Copyright 2017

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http://wrybread.com/gametone/leftcoast/mcclures.shtml

With four Great Danes in tow, the Borglums set up their studio in a cottage tucked amid grapevines and palm, pepper, orange and oak trees in the foothills of Sierra Madre on the northwest corner of Hermosa Avenue and Live Oak, now called Orange Grove Avenue. They called their four-acre ranch El Rosario, meaning the rose garden.

From <http://www.businessinsider.com/secret-room-facts-mount-rushmore-presidents-south-dakota-inaccessible-tourists-lincoln-2017-1>

Since taking office, President Donald Trump has reignited a debate about what it means to be American.

But many Americans might not know the secret behind one of the country’s most iconic political monuments.

Enter: The Hall of Records at Mount Rushmore.

Where the frontal lobe of Abraham Lincoln’s brain would be, there is a secret room that contains the text of America’s most important documents. It sounds like something out of “National Treasure” (or, more fittingly, “Richie Rich“) but the Hall of Records is a legitimate historical repository.

Conceived in the 1930s by the monument’s designer, Gutzon Borglum, the Hall was designed to be a vault for a selection of documents chronicling America’s history.

Borglum envisioned an 800-foot stairway leading to a grand hall, measuring 80 feet by 100 feet, behind the presidents’ faces. Above the entrance to the hall would hang a bronze eagle, with a wingspan of 38 feet. The hall would contain busts of famous Americans and a list of US contributions to science, art, and industry, according to the National Park Service.

Unfortunately, Borglum died in 1941, so he never got to see that vision come to life. More than 50 years later, in 1998, monument officials revived the sculptor’s dream of installing a record of the country’s history inside the Hall.

Today, sealed behind a 1,200-pound granite slab and tucked inside a wooden box are the US Constitution, the Declaration of Independence, the Bill of Rights, a biography of Borglum, and short descriptions of each of the presidents featured on the monument. The text of each document is carved into a series of porcelain enamel panels.

Sadly, the Hall is closed to the public (the half-ton slab probably already gave that away). The closest anyone can get is the ruin-like doorway, which recedes several feet into the mountain. It’s nestled behind a rocky outcropping to the right of Lincoln’s head.

The present-day Hall doesn’t contain any of the intricate designs Borglum originally envisioned for its walls: carved descriptions of America’s greatest moments, surrounded by massive illustrations of the Louisiana Purchase.

At least, as far as we know. Maybe Nicolas Cage knows something we don’t.

Although his earlier paintings and sculptures would be overshadowed by the mountainside known as the Shrine to Democracy, many of his works were crafted in Los Angeles and the town where he lived, Sierra Madre.

Like Mt. Rushmore itself, Borglum was a larger-than-life figure who demanded attention. Amid a career that spanned more than half a century, he carried on a romance with the California landscape, painting hundreds of seascapes, landscapes, crumbling mission exteriors, championship horses and a portrait of Gen. John C. Fremont, as well as sculpting a bust of Fremont’s wife, Jessie Benton Fremont, and the Los Angeles Times’ bronze eagle.

The artist was born John Gutzon de la Mothe Borglum in Idaho on March 25, 1867. His father was a Mormon immigrant from Denmark who had married two sisters. When Borglum was 4, his father, a frontier doctor, left the church, discarding young Borglum’s mother so he could move back into society with only one wife and a brood of children.

Young Borglum, angry and rebellious, moved with his father and the rest of the family to Omaha, where he was reared by his stepmother-aunt.

In 1884, his father’s wanderlust led the family to Los Angeles. The father opened a medical practice and Borglum, 17, began a career as a lithographer’s apprentice and a fresco painter. He quit after six months, angry over what he considered a meager salary.

Determined to be a famous artist, he began to paint landscapes and portraits of the rich and famous. He gradually carved out a niche for himself, and opened his own art studio in the basement of The Times’ building on Broadway. There his art caught the eye of Times Publisher Harrison Gray Otis, who would later commission the Times eagle, which was emblematic of Otis’ motto: “Stand fast, stand firm, stand sure, stand true.”

The eagle weighs more than 200 pounds and has a wingspan of 7 1/2 feet. It perched atop three Times buildings beginning Dec. 5, 1891. In 1956, it was moved inside to protect it from decay, and today it graces the lobby.

Sharing a Studio

In the late 1880s, Borglum became attracted to a worldly woman named Elizabeth “Lisa” Putnam. She was an accomplished still-life artist and teacher, as well as a divorcee nearly twice his age. But she recognized his genius and encouraged him to go to San Francisco for study. When he returned in 1887, after less than a year under the tutelage of artist William Keith, Putnam invited Borglum to share her studio.

As he began to experiment with various painting styles, he attracted critics, friends, patrons — and editor Charles F. Lummis, who saw in Borglum the promise of better things.

“His paintings had many shortcomings and showed his lack of education. Yet there was in them a creative breadth that promised to make him heard,” Lummis wrote in his magazine, Land of Sunshine.

Borglum believed that he would be famous before he turned 30. Putnam, his teacher, mentor and lover, shared his dream.

His portraits led to his first significant art commission, in 1888, when Jessie Fremont asked him to paint her husband, who had explored and mapped the West. In return, she gave Borglum letters of introduction to her prosperous friends, including railroad magnate Collis Huntington, former California Gov. Leland Stanford and young Theodore Roosevelt.

Fremont’s portrait proved valuable, earning Borglum the loyalty and support of Jessie Fremont, who was instrumental in furthering his career.

In 1889, Borglum, 22, married Putnam, 41, in Los Angeles.

That same year, he finished a 5-by-9-foot painting of a stagecoach drawn by six horses careening down a mountain road. “Staging in California,” considered one of his finest works, is at the Joslyn Art Museum in Omaha.

The work earned him the backing of a socialite, Mrs. Spencer H. Smith, who bought many of his paintings, introduced him to her powerful friends and, in 1890, paid for his art training in Europe, where Borglum learned sculpting techniques under Auguste Rodin in Paris

In 1893, Borglum and his wife were lured back to L.A. by the climate and a commission for three landscapes from Stanford.

With four Great Danes in tow, the Borglums set up their studio in a cottage tucked amid grapevines and palm, pepper, orange and oak trees in the foothills of Sierra Madre on the northwest corner of Hermosa Avenue and Live Oak, now called Orange Grove Avenue. They called their four-acre ranch El Rosario, meaning the rose garden.

“There is enough beauty in nature here to keep me painting a lifetime,” Borglum said. The home was also close to Lucky Baldwin’s racehorses, which Borglum used as models for many paintings.

Artistic Development of Gutzon Borglum

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borg2The greatest artist to come out of Nebraska – by far – is Gutzon Borglum, who created Mount Rushmore. Gutzon and his family lived in Omaha and Fremont City. When they moved to Los Angeles, my kindred, Jessie Benton-Fremont, became his patron. She sent Gutzon to famous art schools in Europe. Gutzon did a bust of Jessie, and a portrait of John Fremont.

Charles Lummis the editor of ‘The Land of Sunshine’ and ‘Out West’ was a great promoter of Gutzon and the Fremonts. There is a good chance my grandfather, Royal Rosamond, knew Lummis because he published his poems and stories in Out West..

In 1970, I went with Rena Easton to the art department at the University of Nebraska where she unveiled a life-size clay sculpture of her boyfriend. I later did two paintings of Rena Christensen. One of them inspired my sister to take up art, and she became the world famous artist, Christine Rosamond Presco. She later married Garth Benton, the cousin of the famous artist, Thomas Hart Benton, the grandson of Senator Thomas Hart Benton, the father of Jessie Benton, and father-in-law of John Fremont, the first presidential candidate of the Republican Party.

Royal was bid to write by the artists, Jack and Fanny Cory. Fanny did covers for the Saturday Evening Posts, as did Philip Boileau, the son of Susan Benton who had a salon in Paris and may have sponsored Gutzon in France.

Christine and Garth were introduced by Lawrence Chazen, a partner of Rosamond in her first Carmel Gallery, and business partner of the Getty and Pelosi family. Nancy Pelosi’s husband and Chazen are top financial advisors for the Getty family who at one time owned the largest art collections in the world. Chazen is a CEO of Nobel Oil, and was my father’s private lender in his loan business.

If Rena and I had not mended the rent in our relationship at the University of Nebraska Museum, then Christine would not have become famous and married into the creative Benton family, because, I would not have captured her beauty on canvas. I am the Benton and Rosamond family historian.

Jon Presco

Copyright 2013

Out of Rushmore’s Shadow: The Artistic Development of Gutzon Borglum

“Out of Rushmore’s Shadow: The Artistic Development of Gutzon Borglum” will be on exhibit at the Stamford Museum & Nature Center through February 20, 2000. The exhibition is a major retrospective on the work of Gutzon Borglum, best known for the carving of the presidential portraits on Mount Rushmore, South Dakota.

The exhibition’s logo, “The road to Rushmore goes through Stamford,” underscores the years that Borglum resided in Stamford, Connecticut and created some of his most important works in the studio he built there. At the core of the exhibition is the museum’s Borglum collection, including recent acquisitions. Other artwork, photography and memorabilia are on loan from museums and private collectors throughout the country. These include Mission San Juan Capistrano, California; San Antonio Museum, Texas; the Borglum Historical Center, South Dakota, Irvine Museum , California, and R. W. Norton Art Gallery , Shreveport, Louisiana.

Borglum, the man behind the artist, comes to life, not only in his works but in the narrative of the exhibition and the essays in the catalogue. Mary Donohue, of the Connecticut Historical Commission, says in her essay, “…He counted American presidents, inordinately wealthy industrialists, and members of society’s elite as friends and patrons.” The exhibition analyzes the artist’s career by dividing it into basically four phases: Californian, Rodin-inspired, monumental, and colossal. It illustrates the changing artistic, historical, cultural, and philosophical nature of Borglum’s career. it shows the artist’s choice of his subjects and style in relationship to his environment, his chance encounters with inspiring masters, political crisis, and the prevailing trends of his day. Borglum’s granddaughter Robin Carter quotes his philosophy on creating, “The reason for building any work of art can only be for the purpose of fixing in some durable form a great emotion, or a great idea, of the individual, or the people.” (left: I have Piped Unto You and Ye Have Not Danced, c. 1910, marble, SMNC, Pierre Dupuy)

Found: ‘Priceless’ 18th century ‘Bust of the Goddess Diana’ looted by the Nazis in WWII returned to Warsaw’s Royal Lazienki Palace

  • Bust stolen from Royal Lazienki Palace, Warsaw, by Nazi looters in 1940
  • Given to Hans Frank, Hitler ally and then governor of Occupied Poland
  • Missing for last 75 years until it appeared at an auction in Vienna in June
  • Private owner was convinced to return historic marble sculpture to Poland

A ‘historically priceless’ piece of art stolen by the Nazis 75 years ago has been returned to Poland after it was spotted on sale at an auction in Austria.

The late 18th century ‘Bust of the Goddess Diana’ was stolen from the Royal Lazienki Palace in the Polish capital Warsaw in 1940 by Hitler’s marauding army.

The solid marble sculpture was sent to Hans Frank, then governor of occupied Poland and one of Hitler’s closest friends, in Krakow, along with 56 paintings which had been looted from the National Museum in Warsaw.

Found: The Bust of Diana was stolen from the Royal Lazienki Palace in Warsaw by Nazis in the early months of the Second World War, one of half a million pieces of art looted or destroyed in just six months

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Lost: It wasn’t seen again for another 75 years, until it was spotted in an auction catalogue, on sale in Vienna, Austria. The owner was then convinced to return it to its rightful place, in the palace dining room (pictured right)” class=”blkBorder img-share”/&amp;amp;gt;

Lost: It wasn’t seen again for another 75 years, until it was spotted in an auction catalogue, on sale in Vienna, Austria. The owner was then convinced to return it to its rightful place, in the palace dining room (pictured right).

Since then the sculpture, by Jean-Antoine Houdon, which was in the collection of Polish king Stanislaw August Poniatowski, vanished.

It was missing for 75 years until June when it came up for sale appeared at auction in k

He added that the long-lost Diana bust which was returned Friday would ‘resume it’s historic place of residence in the Dining Room of the Palace on the Water’

Read more: http://www.dailymail.co.uk/news/article-3365627/Found-Priceless-18th-century-Bust-Goddess-Diana-looted-Nazis-WWII-returned-Warsaw-s-Royal-Lazienki-Palace.html#ixzz4XTDDzKxx
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About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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One Response to Entrance To Rosamond Labyrinth Found

  1. Reblogged this on Rosamond Press and commented:

    The truth is coming!

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