daniel chester french was the hometown boy. it didn't matter that he had never done a sculpture larger than 3 feet. he got the job. it is sort of remarkable that it happened. his first model is lost and was rejected and he decided to consult the apollo belvedere, at least a copy of it that was on view at the in boston across the river. from that he began doing drawings of legs, torsos that would create a sense of torsion and drama for the figure he would do. of course then it begins to take the shape as he writes descriptive passages of what we know as the minuteman. this is taken around 1875. the dedication was a tremendous event. ulysses s grant was there, to represent rhode island our favorite topic of the day. luisa may alcott arrived and said, where is my seat? she was already pretty famous and the master of ceremonies said your sieges anywhere but on this platform. she left. she did not stay. then the platform collapsed. daniel chester french did not get paid for this iconic work, which is pretty good for a guy that didn'

daniel chester french was the hometown boy. it did not matter he had never done a sculpture larger than about three feet. he got the job. and it's sort of remarkable that it happened. his first model is lost. it was rejected. and he decided to consult the apollo gold the deer, at least -- belvedere, at least a copy of it on view at the boston athaneum. from that, he began doing drawings of legs, torsos, that would create a sense of portion and drama for the figure he would do. then it begins to take a shape as he writes descriptive passages as well of what we know is the minute man. this is taken around 1875. the dedication was a tremendous event. ulysses s. grant was there. ambrose burnside was there to represent rhode island, a favorite topic of the day. louisa may alcott arrived and said, where is my seat? she was pretty famous and the master of ceremonies said, your seat is anywhere but on this platform. she left. she did not stay. then the platform collapsed. [laughter] harold: french did not get paid for this iconic work,

he'll be talking about his book, man, the life and art of daniel chester french," which examines the life of the sculpture best known for the lincoln statue that serves as the memorial centerpiece. here's a preview. in the first decade of the 20th century, when state of that the nebraska, the capital city of enough, appropriately wants a statue of lincoln in time for 1909. and he gets the great commission. now, they've already done his iscoln for chicago and that a tough act to follow. so french begins his research. found this sort of interesting. dot does a sculptor have to to create a lincoln? the first thing he does is he of reserves, photographers of abraham lincoln, privately printed. >> he wants to show lincoln with a crushing weight of a war still to be won. he admits, the more i study lincoln, the bigger he seems. lincolne says, my problem. model. the first 36-inch model. lincoln with bowed head arms clasped in front. he takes it to lincoln, nebraska. meets a woman who had seen abraham lincoln at the lincoln-douglas debates. him, i remembered he had a curious way of standing

he'll be talking about his book "monument man: the life and art of daniel chester french," which examines the life of the sculptor best known for the lincoln statue that serves as the memorial center piece. here's a preview. >> here he is in mid -- the first decade of the 20th century, when he learns that the state of nebraska, this capital city of lincoln, appropriately enough, wants a statue of lincoln in time for 1909. and he gets the great commission. now, he's already done his lincoln for chicago, and that is a tough act to follow. so french begins his research. i found this sort of interest picture. what does a sculptor have to do to create a lincoln? the first thing he does is get a set of photographs of abraham lincoln, privately printed, and he also sends french some photographs to consult individually in larger format. we don't know which photograph he used, but he did say he wants to show wlinglincoln with the crushing weight of a war still to be won. it is, he says, my lincoln problem. this is the first model, a 36-inch model. he has lincoln with bowed head and arms clasped in

next, harold holzer talks about his book "monument man: the life and art of daniel chester french." which examines the life of the sculptor best known for the statue of lincoln that serves

next, harold holzer talks about his book "monument man: the life and art of daniel chester french." which examines the life of the sculptor best known for the statue of lincoln that serves as the memorial's centerpiece. this program from the annual lincoln forum symposium is about an hour. >> good afternoon and welcome to the second session of the lincoln forum. i want to make one correction before we begin. in your packet, there are biographies and mine suggests that i am the provost at howard university.