The White Rabbits of the World’s Columbian Exposition: How Women Sculptors Forged a Legacy in Plaster and Bronze
The 1893 World’s Columbian Exposition in Chicago, a dazzling “White City” built to commemorate the 400th anniversary of Christopher Columbus’ arrival in the Americas, wasn’t just a showcase of technological innovation and architectural grandeur—it was a pivotal moment for a generation of overlooked female artists. Faced with a looming labor shortage, sculptor Lorado Taft secured permission to hire his female students, who became known as the “White Rabbits,” to create the elaborate ornamentation that defined the fair. Their story, chronicled in the autobiography of Janet Scudder, reveals a remarkable chapter in American art history, one where talent and determination overcame societal barriers.
A City Built on Ambition and a Labor Shortage
The World’s Columbian Exposition was conceived as a statement of American progress and Chicago’s ascendance as a world-class city. Spanning nearly 700 acres and boasting 200 buildings, the scale of the project was immense. However, as the opening drew nearer, it became clear that Chicago lacked the artistic manpower to complete the ambitious designs. Lorado Taft, tasked with creating statues and ornamentation, found himself in a precarious position.
In an unprecedented move, Taft appealed to the fair’s architect, Daniel Burnham, for permission to employ his female students. Burnham’s pragmatic response – “Hire anyone, even white rabbits, if they can get the work done” – not only gave the women an opportunity but also christened them with a memorable moniker. Taft relayed the message to his students, telling them, “You might as well begin right now calling yourselves White Rabbits.”
From Horticultural Building to Artistic Hub
The “White Rabbits” established their studio within the World’s Columbian Exposition Horticultural Building, transforming the space into a bustling workshop. Janet Scudder, a wood carver who had been unable to join the male-dominated union, eagerly accepted Taft’s offer. She recalled the excitement of starting work on ornamental sculptures for the building’s façade, describing the initial payment – envelopes filled with $5 bills – as feeling “like a dream.”
The studio quickly became a spectacle in itself. Artists, politicians, and investors flocked to witness the young women, clad in white coats and covered in plaster dust, working diligently on scaffolding. Zulime Taft, Lorado’s sister and a fellow “White Rabbit,” recounted shaking the hands of “forty-five governors” before the fair even opened, a testament to the group’s growing fame.
Beyond Studio Assistants: Creating Lasting Works of Art
The White Rabbits weren’t merely assistants; they actively contributed to some of the exposition’s most iconic features. They embellished pillars and doorways, transformed artists’ models into full-scale statuary, and played a crucial role in completing Frederick Macmonnies’ grand fountain, a centerpiece of the fair’s lake.
However, their contributions extended beyond collaborative projects. Several White Rabbits received individual commissions, establishing their own artistic identities. Enid Yandell’s sculpture of Daniel Boone, initially crafted in plaster for the exposition, was later cast in bronze and now stands in Louisville’s Cherokee Park. Yandell’s success continued after the fair, leading her to study with Auguste Rodin in Paris and become the second woman admitted to New York’s National Sculpture Society.
A Legacy of Female Artistic Achievement
Yandell was just one example of the lasting impact the White Rabbits had on the art world. Bessie Potter Vonnoh, known for her work on the Burnett Memorial Fountain in Central Park, became the first woman sculptor admitted to the National Academy of Design in 1921. Julia Bracken Wendt, who overcame a difficult childhood to pursue her passion, received a commission for the Illinois Building and later became Taft’s teaching assistant. Helen Farnsworth Mears, at just 21 years old, created Genius of Wisconsin, a sculpture that launched her career and now graces the Wisconsin Capitol.
Other notable White Rabbits included Mary Lawrence, who sculpted a monumental statue of Columbus, and Carol Brooks MacNeil, Ellen Rankin Copp, Margaret Gerow, and Jean Pond Miner Coburn, each leaving their mark on the artistic landscape. While the exact number of White Rabbits remains unknown due to incomplete records, their collective impact is undeniable.
Inspiring Future Generations and a Lasting Cultural Ripple
The World’s Columbian Exposition drew 27 million visitors, and the story of the White Rabbits inspired many, including Evelyn Longman, who went on to contribute to the Lincoln Memorial in Washington, D.C. It’s highly probable that major sculptors like Gertrude Vanderbilt Whitney and Anna Hyatt Huntington were aware of the White Rabbits and their work, given their shared artistic circles.
The legacy of the exposition and the White Rabbits extended beyond the realm of sculpture. The Woman’s Building, a pavilion dedicated to the achievements of women in art, science, literature, and music, served as a powerful symbol of female empowerment. In 1973, a copy of the Woman’s Building catalog inspired Judy Chicago and her students to establish the Woman’s Building in Los Angeles, which became a prominent center for the feminist art movement until 1991.
Though the art and architecture of the 1893 exposition were largely dismantled as planned, the cultural ripples continue to be felt today, a testament to the enduring power of the “White Rabbits” and their contribution to American art.
