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for Isidore Konti
1862 - 1938
After a childhood spent in his parents' native Hungary, Konti enrolled, at age sixteen, in the Imperial Academy of Fine Arts in Vienna. His most influential teacher there was the sculptor Edmund von Hellmer, who introduced his pupils to the realism then being favored by Europe's more progressive artists. In 1882 Konti studied at the Meistershcule in Vienna with Karl Kindman, a leading Austrian sculptor. He then went to Rome on scholarship, living and working there from 1886 to 1888. Returning to Vienna in the latter year, he gained a number of important commissions for public monuments and portrait busts. But by 1892 he had decided, for economic reasons, to go to the United States. He arrived in New York early that year and found employment in the studio of Philip Martiny. Martiny appreciated Konti's talents and experience and sent him to Chicago to work on sculptures for the World's Columbian Exposition, which opened in 1893. Konti created a number of major figures for the fair and also had the opportunity to work with American sculptors such as Karl Bitter, whom he had met in von Hellmer's class in Vienna, and Hermon A. MacNeil.
Back in New York later in 1893, Konti collaborated with Bitter on a number of sculptures, including decorative and allegorical elements for the Elbridge Gerry mansion and Rhinelander Church. By the mid-1890s, he had established a reputation as a sculptor of monumental works. A measure of the regard in which he was held is his election, on the recommendation of Daniel Chester French, to the National Sculpture Society in 1898. In 1901 Konti was commissioned to create one of a pair of figures for that year's Pan-American Exposition in Buffalo, New York. The theme was the Age of Despotism, and this time MacNeil was his collaborator.
Over the next several decades, Konti continued receiving important public and private commissions. Among these were a series of historical reliefs for the Syracuse, New York, post office; Atlantic and Pacific, two fountain figures for the 1904 Louisiana Purchase Exposition in St. Louis, where Konti won a gold medal; and allegorical figures for the Pan-American Union Building, Washington, D.C. One of his best-known works is the figure of Pomona that graces the Pulitzer Fountain in New York. Konti completed it after the tragic death of his friend Bitter, who had designed the sculpture.
Smaller Konti sculptures appeared regularly at various world fairs and in sculpture exhibitions around the country. He began participating in the exhibitions of the National Academy of Design in 1902 and continued to do so for the rest of his life. In 1907 Konti designed the Academy's Isidor Gold Medal.
Konti was also known as a wise and benevolent teacher. Among his studio assistants were Charles Grafly, Evelyn Longman, and Paul Manship, all of whom credited their success, in part, to his instruction and guidance.
Konti was a member of the Salmagundi Club; the Architectural League of New York; the Yonkers Art Association, the National Arts Club, New York; and the Fine Arts Federation, New York. He resided in New York from his arrival in this country in 1892 until 1914, when he moved to Yonkers, New York.
Formal acceptance of Konti's diploma portrait was overlooked in Academy minutes; however, it was included in the librarian's annual report of works accessioned during the previous year, delivered May 8, 1907. The Council accepted Konti's presentation piece in confirmation of his election to Academician, a small bronze entitled Charm, on March 7, 1910; sadly, it was lost from the collection sometime before 1982.
Back in New York later in 1893, Konti collaborated with Bitter on a number of sculptures, including decorative and allegorical elements for the Elbridge Gerry mansion and Rhinelander Church. By the mid-1890s, he had established a reputation as a sculptor of monumental works. A measure of the regard in which he was held is his election, on the recommendation of Daniel Chester French, to the National Sculpture Society in 1898. In 1901 Konti was commissioned to create one of a pair of figures for that year's Pan-American Exposition in Buffalo, New York. The theme was the Age of Despotism, and this time MacNeil was his collaborator.
Over the next several decades, Konti continued receiving important public and private commissions. Among these were a series of historical reliefs for the Syracuse, New York, post office; Atlantic and Pacific, two fountain figures for the 1904 Louisiana Purchase Exposition in St. Louis, where Konti won a gold medal; and allegorical figures for the Pan-American Union Building, Washington, D.C. One of his best-known works is the figure of Pomona that graces the Pulitzer Fountain in New York. Konti completed it after the tragic death of his friend Bitter, who had designed the sculpture.
Smaller Konti sculptures appeared regularly at various world fairs and in sculpture exhibitions around the country. He began participating in the exhibitions of the National Academy of Design in 1902 and continued to do so for the rest of his life. In 1907 Konti designed the Academy's Isidor Gold Medal.
Konti was also known as a wise and benevolent teacher. Among his studio assistants were Charles Grafly, Evelyn Longman, and Paul Manship, all of whom credited their success, in part, to his instruction and guidance.
Konti was a member of the Salmagundi Club; the Architectural League of New York; the Yonkers Art Association, the National Arts Club, New York; and the Fine Arts Federation, New York. He resided in New York from his arrival in this country in 1892 until 1914, when he moved to Yonkers, New York.
Formal acceptance of Konti's diploma portrait was overlooked in Academy minutes; however, it was included in the librarian's annual report of works accessioned during the previous year, delivered May 8, 1907. The Council accepted Konti's presentation piece in confirmation of his election to Academician, a small bronze entitled Charm, on March 7, 1910; sadly, it was lost from the collection sometime before 1982.
