When was legion of honor built

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Serene Galleries. Works by Monet. Cecilia , Waterhouse, The Candlelight Master , French, The Russian Bride's Attire , Makovsky, Call To Arms , Rodin. The Gates of Hell , Rodin, Zurich. Columbus as a Boy , Monteverde, The Orator, Picasso. Egyptian Tomb Relief, B. No Need to Walk. Inlay Work on Table. Check with the Legion of Honor website legionofhonor. Even though M. Nor did his palace escape falling into the hands of an unscrupulous wig-maker assistant who had acquired a suspect fortune!

Thus, when Alma decided to base the design of her museum on the French pavilion of the PPIE, her building was fated to be a copy of a copy of a copy with complex links to her own history as well as to her present interests. If Alma was enthusiastic about the war and if much of the business elite supported American intervention against Germany out of sympathy for the French and with an eye on profits, this was not the case for many San Franciscans. The Spreckels family was officially neutral being explicitly pro-German was ill-advised.

Local working-class, socialist, and anarchist militants saw the war as detrimental to their interests, as did their comrades across the nation. As the PPIE closed in early , the city was deeply divided along class lines, with employers intent on forcing open shop rules on the waterfront.

A summertime waterfront strike was decisively won by the employers on July 17, An already tense situation came to a head at the massive Preparedness Day parade on July 22, , when a bomb went off at the corner of Steuart and Market Streets as 20, businessmen, professionals and veterans marched in support of American participation in the war.

Nine were killed, forty injured. Labor and the left--including Emma Goldman and Alexander Berkman --had denounced the parade, whose organizing committee included the likes of bankers William H. Crocker and Herbert Fleishhacker, and M. Now the usual suspects--workers, socialists, and anarchists--were accused of the bombing. Of the five people arrested, two were rapidly convicted in rigged trials: Warren Billings was sentenced to life in prison, and Tom Mooney received the death penalty.

Generally, throughout the country labor was on the defensive and dissent was suppressed, as situation that only grew worse after American entry into the war in Official suppression of dissent was often coupled with mob violence against people suspected of disloyalty. German-Americans, religious pacifists, union organizers, and left-wing militants were routine targets. Socialist leader Eugene Debs was sentenced to ten years in prison for lecturing on the economic causes of the war.

If anything, things turned worse at war's end. Strike waves and the Bolshevik Revolution triggered a Red Scare that culminated in the arrests of thousands and the deportation of hundreds of foreign-born radicals, including Emma Goldman. The same period saw a dramatic rise in lynchings and other violence against black Americans. Against this background of intense social and political reaction, Alma continued planning her art museum.

Groundbreaking was delayed until because of wartime shortages, but this didn't prevent Alma from arranging a visit to the construction site first by Supreme Allied Commander Ferdinand Foch and then, a few months later, by Marshal Joseph Joffre. However derivative the form of the building, Applegarth used modern methods in the construction of the museum.

The reinforced concrete walls were left hollow to regulate temperatures, and the heating and ventilation system eliminated radiators and filtered the air. Applegarth's building also has a distinctive relationship to its site and setting: this Palace of the Legion of Honor stands in a bucolic setting radically different from the close urban site of the first replica on Rue de Bellechasse.

There's not even a service door to be seen. Instead, a decorated wall faces in the general direction of Hawaii, the source of the Spreckels' fortune.

Alma de Bretteville Spreckels' collection reflected her conservative and at times bizarre tastes in art, appropriate for a social climber who married into the provincial bourgeoisie. No works by the likes of Picasso, Schwitters, Malevich or Ernst.

Especially appreciated were donations by royalty, including Alma and Loie Fullers' old friend, Marie, Queen of Romania. By and large, the collection, with the exception of the Rodins, which remain explosive, memorialized the old order of Europe, specifically of Alma's fantasy of a prewar Europe of monarchy, old families, and established hierarchies.

Even if San Francisco society still viewed Alma as an uncouth arriviste and gold digger, European society appeared to confer legitimacy on her claims to aristocracy. In later years, the collection expanded in more interesting directions, and the museum has even hosted Picasso exhibitions and a major Surrealist show.