Harriet Goodhue Hosmer was born in Watertown, Massachusetts, on October 9, 1830. Even as a child she liked to play with clay and mold it into shapes. In one corner of the garden there was a clay-pit. Here the little girl used to go, when she grew tired of books, to fashion dogs and horses from the wet clay.
Harriet went to school in Watertown, and later attended a private school at Lenox, Massachusetts. After three years at Lenox, Harriet returned home. She then began to study drawing and modeling in Boston. Often she walked both to and from her lessons, a distance of fourteen miles. By this time, Harriet Hosmer realized that nothing made her happier than to turn formless bits of clay into beautiful objects. She felt that she would like to go still further in her work; she wanted to see some of her ideas take shape in marble.
Harriet knew that a sculptor cannot fashion life-like figures of people or animals without understanding the position and shape of the bony frame under the flesh. The decorations of her museum-like room, all those specimens that she had dissected or mounted as a child, had given her a fair start in the study of anatomy. She also studied this subject with her father. However, she realized that, if she were to be a real sculptor, she must know more about anatomy. She consequently looked about for a school where she might study.
The Boston Medical School would not accept this eager young student because she was a girl, but Harriet Hosmer was not a person to be daunted by one refusal. She was finally admitted to the St. Louis Medical College where she had a very thorough course in anatomy. After she had completed this course, she returned home and began to work seriously in a studio which her father had fitted up for her in his garden.
A beautiful girl representing Hesper, the evening star, was the subject that Harriet Hosmer chose for her first original statue. From a solid block of marble she had a workman knock off the corners. As he was not accustomed to working for sculptors she did not allow him to go within several inches of the part that she was to cut. All the rest of this difficult work she did with her own small hands.
For eight or ten hours a day she chipped away at the block with chisel and a leaden mallet weighing four pounds and a half. Muscles made strong and flexible by much rowing and other exercises enabled her to keep up this hard work day after day. The block of marble was finally turned into the head of a lovely maiden, her hair entwined with poppies and a star on her forehead.
Beautiful as was this head of Hesper, Harriet Hosmer felt that she must study more. She was very desirous of entering the studio of John Gibson, a noted English sculptor who was then residing in Rome. Now Mr. Gibson, hearing that Miss Hosmer was young and rich, feared that she might be easily discouraged before real difficulties. However, as soon as he saw the daguerreotypes of her “Hesper,” the great sculptor said to her father, “Whatever I can teach her, she shall learn.”
At the very beginning of her work with Mr. Gibson, Harriet Hosmer showed him that she was not the sort of girl who gives up easily. The iron rod in a clay copy of the Venus de Milo which she had modeled in order that her teacher might have an idea of her work snapped, and the figure fell to pieces. However, without stopping to complain, she started at once to make another model.
Harriet Hosmer continued to work steadily with John Gibson. Then one day a message came from her father stating that he had lost his fortune and could no longer send her money. Miss Hosmer sold her fine saddle horse, and took an inexpensive room for herself. Now she was actually to work for her living.
Miss Hosmer became an important figure in the art and literary circles in Rome. She numbered among her friends the Brownings, Hawthorne, the Thackerays, and many other interesting people.