Nowadays, Fernando Miranda y Casellas has become a topic of great interest and debate in different areas. Both in society and in the academic field, Fernando Miranda y Casellas has generated a series of mixed emotions and opinions that have triggered endless discussions and reflections. That is why it is relevant to dedicate time and space to explore and analyze in depth the impact and implications that Fernando Miranda y Casellas has on our lives. In this article, we will delve into the different aspects related to Fernando Miranda y Casellas, examining its origins, evolution, consequences and possible solutions. Likewise, we will address the various perspectives and positions surrounding Fernando Miranda y Casellas, in order to expand our understanding of this complex and significant topic.
Fernando Miranda y Casellas (1842 – May 9, 1925) was a Spanish-American sculptor, architectural sculptor and illustrator.
He was born in Valencia, Spain, the son of an illustrator of the same name, and studied under sculptor José Piquer II. He moved to the United States prior to the 1876 Centennial Exposition, and settled in New York City.[1] For several years he worked as an illustrator for the Spanish-language magazine La Ilustración Española y Americana, and contributed to Frank Leslie's Illustrated Newspaper.
In 1878, he designed a 30-foot monument honoring Spanish author Miguel de Cervantes to be erected in Central Park.[2] The project was eventually abandoned due to lack of funding, but Miranda's Bust of Cervantes stood in the park for more than a quarter-century.
He designed a 100-foot diameter fountain honoring Christopher Columbus to be erected in Central Park along 5th Avenue,[3] but sculptor Gaetano Russo's Columbus Monument already was planned for nearby Columbus Circle. Alternate sites for the fountain were proposed at Battery Park and Harlem, but this project also was abandoned.[4] Instead of an original work by Miranda, Central Park commissioned a copy of sculptor Jeronimo Suñol's Columbus statue in Madrid, which was dedicated in 1894.
Following the Boston Public Library's notorious 1896 rejection of Frederick William MacMonnies's nude sculpture Bacchante and Infant Faun, Miranda prepared a replacement work for the courtyard's fountain. The Spirit of Research was a sober figure of a gowned woman lifting a veil—a metaphor for education.[5] It was installed at the center of the fountain in 1898, but removed by the 1920s. A copy of MacMonnies's statue was restored to the fountain in 1993.[6]
He was a member of the National Sculpture Society,[7] and served as first president of the American Sculpture Society.[8]
King Alfonso XIII of Spain made him a Knight in 1890.[9]