When Gaetano Federici came to America as a child, his story, like thatof so many other immigrants, could have been lost to history. However,through his art, Federici established an estimable reputation, wheretalent, hard work and ambition brought him considerable acclaim.By the time of his death, Gaetano Federici had become as well-knownas many of the celebrities, politicians and historical figures he hadimmortalized in bronze and marblefor over fifty years.

With more than forty of his statuesin a two mile radius of Paterson CityHall, most Passaic County residentsare familiar with at least someof his works. This exhibition willexplore aspects of Federici’s career,his personal life, and his legacy inshaping our community landscapes.

GAETANO FEDERICI: (1880-1964)

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

One distinct characteristic of Federici’s workwas his ability to capture the intimate details ofhis subject’s face. Smiling or stern, the realisticnature of his sculptures can be attributed to apainstaking attention to detail.

The sculptor’s technique focused on the creationof a multitude of models, at various scales. Thesescale models allowed him to perfect detailsof clothing, hair and facial expression. Oftennude models were created alongside clothed,to ensure accuracy. Sometimes additional scalemodels of features such as handsor faces were also made.

ARTISTIC METHODS: SCULPTURES

Three Scale Models of Bishop Thomas McLaughlin,1957. From the Gaetano Federici Collection, 2013.023

Studies of Columbus, 1953. From the Gaetano Federici Collection, 2013.023

Studies of Nathan Barnert, 1924. The public nature of many of Federici’scommissions may have added pressure on the artist to create accuraterepresentations of his subjects. Nathan Barnert was not only alive whenhis sculpture was started; he made a speech at its unveiling. From the Gaetano Federici Collection, 2013.023

Federici in his later life. Despite theinfirmities of age, he never stoppedcreating. Photo from the Gaetano Federici Collection, 2013.023

During the course of his career, Gaetano Federici produced a largenumber of reliefs. Many of these pieces can still be found today onschool walls and public building interiors in Passaic County.

Like his statues, Federici’s attention to detailmeant that each relief had several phases ofproduction. The artist would begin by carvinga relief in plaster. He would then make amold of that relief (like a negative), also inplaster. He would continue to embellish themold at this stage, adding and removing

details. The mold would then be used tomake a new positive, and theprocess would be repeated,each version becoming morerefined until the final positivewas cast in metal or carvedin stone.

ARTISTIC METHODS: RELIEF

Eleanor Egg, America’s Champion,1932. This plaquecommemorating track star Eleanor Egg was the firstplaque to embellish the walls of Hinchliffe Stadiumwhen it opened in August 1932. From the Gaetano Federici Collection, 2013.023

Tribute to Arcangelo Corelli, a nude study 1938.Like many of his sculptures, Federici made nudeversions of many of this relief pieces, in order toperfect every detail. 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

Untitled sketch by Gaetano Federici.From the Michael Cervino Memorial Collection, 2014.066.01

Gaetano Federici was born to Antonio and TeresaFederici in Castelgrande, Italy in 1880. He firstcame to Paterson with his mother at age seven.His father Antonio, who had moved to Americaahead of his family, was a mason. Young Gaetanorealized early in life that he was not interestedin the construction of buildings, so much as theirdecoration.

In his early career, Federici apprenticed with anumber of New York based sculptors. Throughthese apprenticeships Federici was able to work on Moretti’s Vulcan,contribute to the Pan-American Exposition in 1901, and hone his skills.

When Gaetano returned to Paterson in1904, he began working in his father’sconstruction firm, Armezzani, Federici& Sons. One of the firm’s first projectswas the facade of Our Lady of LoretoChurch in Brooklyn (1907-1908). Inaddition to his responsibilities with thefirm, Federici was always creating, bothprivately in his studio and for clients.He was soon identified as a creator ofpublic sculpture with the completionof his Congressman James F. Stewartstatue, commissioned by the City ofPaterson in 1905.

EARLY LIFE

A class photograph including a young GaetanoFederici (top row, far right).From the Gaetano Federici Collection, 2013.023

The Federici family studio located at 369 Market Street, Paterson,under construction, circa 1910.From the Gaetano Federici Collection, 2013.023

Gaetano FedericiSculptor

The family of Antonio and Teresa Federici circa 1912. Gaetano is standing in the center of the back row. From the Gaetano Federici Collection, 2013.023

Like many artists throughout history, GaetanoFederici accepted a great number of privatecommissions. One of the primary reasons hiswork is widely recognizable today is thegreat number of public statues he wasresponsible for creating.

Not only are these statueslocated in outside spacessuch as parks and cemeteries,they are also sprinkledthroughout the interiorsof schools, civil buildingsand sports arenas.

A number of Federici’s public sculptures were not just situated in thecommunity, they were also funded by the community. Throughout the

1910s, 1920s and 1930s funds were solicited by various committeesto erect monuments honoring local politicians, historical

figures and Passaic County’s soldiers. Many of thesculptures underwritten by with contributions fromthe citizens of Passaic County, including children.

PUBLIC ART AND THE COMMUNITY

The dedication of Haledon’s World War OneMemorial, Roll of Honor, 1921. From the Gaetano Federici Collection, 2013.023

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

Polish-American organizations gather in front of the Count Kazimierz Pulaski, circa 1961. From the Michael Cervino Memorial Collection, 2014.066.01

One of the more interesting components of Gaetano Federici’s successas a public sculptor is his close, lifelong relationship with Harry B.Haines, editor and publisher of the Paterson Evening News. Their firstproject together was a plaque memorializingHaines’ father, news publisher Edward B.Haines (1911). Haines became a patron andpromoter of Federci and his art.

Haines became a powerful force in thePaterson community, allowing him to exercisecommanding influence over many civicprojects. The publisher played a major rolewhen committees were established tocreate public sculptures. Most likely throughHaines’ recommendation, Federici receivedmany significant commissions throughout hiscareer, including Andrew McBride (1947),Columbus (1953), the Plaza of Memories(1949).

ARTIST AND PATRON:GAETANO FEDERICI & HARRY B. HAINES

A letter written by Haines to Mrs. Federicifollowing her husband's death in 1964. The tone of this letter demonstrates thefeeling of ultimate friendship shared by Federici and Haines.From the Gaetano Federici Collection, 2013.023

Federici highlighting the carvings on the Curule Chair in the Plaza of Memories,October 1948. From the Gaetano Federici Collection, 2013.023

Federici and Haines pose with the completed Andrew McBride, 1947.From the Gaetano Federici Collection, 2013.023

On April 29, 1908 Gaetano Federicimarried Orsola Alois. They were tospend the next fifty-six years together.They were joined by Antonio Canovain 1909 and Teresa Maria in 1914. Aswas true in his early career, familywould remain a vibrant motivationalforce throughout his life. Orsola, andtheir children not only provided supportand love, but often acted as Federici’smuses and models.

Today Gaetano and Orsola Federicirest in Holy Sepulcher cemetery withhis parents Antonio and Teresa. Thefamily memorial includes an angel withoutstretched arms (1904).

THE ARTIST AS HUSBAND AND FATHER

Gaetano and Orsola Federici in their garden. 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.From the Gaetano Federici Collection, 2013.023

Gaetano and Antonio takinga break from modeling. From the Gaetano Federici Collection, 2013.023

Throughout his life and sculpturalcareer, Federici’s art was inspired bya variety of influences. His treatmentof religious subjects demonstrateshis strong Catholic roots. The classicalportrayal of many of his allegoricalfigures can be linked to the statuesand art of his native Italy.

Such influences alone are not whatmakes Federici’s art so importantto Passaic County’s history. Duringthe course of his life, Federiciportrayed many prominent locals.For over five decades he immortalizedpoliticians, religious leaders, athletes,and entertainers. These memorialsin bronze and marble shaped ourcommunity and inspired futuregenerations.

THE ARTIST AND HIS SUBJECTS

Federici working on his bust of Lou Costello, with the comedian’s motherHelen looking on, 1943. From the Gaetano Federici Collection, 2013.023

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