Sculpture in The Ram’s Garden

Marshall Fredericks, one of the great 20th-century sculptors, often worked in the tradition of 19th-century French artists known as animaliers. The Ram’s Garden was originally made possible through a generous donation by the Kent Garden Club and is named after Fredericks’ Siberian Ram. The view from the Daniel and Pamella DeVos Ticketing Center to the newly reimagined Ram’s Garden includes major examples of Fredericks’ stylized bronze animal sculptures.

Marshall Fredericks. Siberian Ram, 1966 (cast 1995). Bronze.

Kirstin Volkening

Siberian Ram depicts the animal known in North America as the bighorn sheep. Fredericks first carved the ram in limestone and later cast it in bronze. The noticeably compact sculpture balances different body elements: The lower part is relatively static, pointing slightly downward. The upper body rises in a counter movement, culminating in the curving and ribbed horns. In Flying Wild Geese, Fredericks accomplished an almost impossible task: namely, to represent a distinctive portrait of birds in flight. He created a dynamic, rhythmic sculpture of the two creatures flying parallel. Upon closer examination, it is apparent they are traveling in a diagonal route. Canada geese return to our gardens annually to live along our wetlands.

Marshall Fredericks. Flying Wild Geese, 1955 (cast 1991). Bronze.

Kirstin Volkening

In Flying Wild Geese, Fredericks accomplished an almost impossible task: namely, to represent a distinctive portrait of birds in flight. He created a dynamic, rhythmic sculpture of the two creatures flying parallel. Upon closer examination, it is apparent they are traveling in a diagonal route. Canada geese return to our gardens annually to live along our wetlands.

Marshall Fredericks. Victory Eagle, 1946–1950 (cast 1955). Bronze.

Erin Zacek

Victory Eagle, more easily visible from the James & Shirley Balk Café’s Grand Rapids Press Terrace, is Fredericks’ striking portrait of a majestic bird one rarely sees up close in the wild. The artist gave the eagle strong angular shapes, almost rendering the wings as abstract forms.

Marshall Fredericks. Wings of Morning, 1987 (cast 1995). Bronze.

Kirstin Volkening

In Wings of Morning, Fredericks moved from the animal portrait into the realm of the spirit. Based on a verse from Psalms, he created a winged figure gently lifted by a large divine hand accompanied by birds. Fredericks strove for clear narrative legibility in this sculpture of deep spiritual content.