The greatest obstacle to being heroic is the doubt whether one may not be going to prove one’s self a fool; the truest heroism, is to resist the doubt; and the profoundest wisdom, to know when it ought to be resisted, and when to be obeyed.” – Nathaniel 

Richard Hunt, "The greatest obstacle to being heroic is the doubt whether one may not be going to prove one's self a fool; the truest heroism, is to resist the doubt; and the profoundest wisdom, to know when it ought to be resisted, and when to be obeyed."--Nathaniel , 1975, chromed and welded steel, 3250 5833 34 in. (81.3128.785.8 cm.), Smithsonian American Art Museum, Gift of Container Corporation of America, 1984.124.122

Artwork Details

Title
The greatest obstacle to being heroic is the doubt whether one may not be going to prove one’s self a fool; the truest heroism, is to resist the doubt; and the profoundest wisdom, to know when it ought to be resisted, and when to be obeyed.” – Nathaniel Hawthorne, The Blithedale Romance, 1852. From the series Great Ideas.
Artist
Date
1975
Location
Not on view
Dimensions
3250 5833 34 in. (81.3128.785.8 cm.)
Credit Line
Gift of Container Corporation of America
Mediums
Mediums Description
chromed and welded steel
Classifications
Subjects
  • Abstract
  • Allegory — quality — fortitude
  • Architecture — vehicle — bicycle
  • Fantasy
Object Number
1984.124.122

Artwork Description

In 1975, Hunt was invited by the Container Corporation of America to create a sculpture for the Great Ideas project, a program that commissioned artists to interpret the writings of the world’s eminent thinkers. Hunt chose a passage from Nathaniel Hawthorne’s novel, The Blithedale Romance (1852), as his title and theme. Intending to evoke the feelings generated by the lines beginning, “The greatest obstacle to being heroic is the doubt whether one may not be going to prove one’s self a fool,” Hunt explained that the sculpture’s wheel and open, boxlike structure suggest motion in restraint. The arms that project into space imply man’s striving for heroic deeds.


African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, 2012

Works by this artist (10 items)

Joseph C. Claghorn, (Nude Woman Fixing Her Hair), n.d., steel-faced copper etching plate, Smithsonian American Art Museum, Gift of Constance Claghorn, 1971.100
(Nude Woman Fixing Her Hair)
Daten.d.
steel-faced copper etching plate
Not on view
Joseph C. Claghorn, A Florida Park, before 1935, oil on canvas mounted on paperboard, Smithsonian American Art Museum, Gift of Mrs. Joseph C. Claghorn, 1970.320
A Florida Park
Datebefore 1935
oil on canvas mounted on paperboard
Not on view
Joseph C. Claghorn, The United States Capitol, ca. 1930-1939, drypoint on paper, Smithsonian American Art Museum, Gift of Constance Claghorn, 1971.93
The United States Capitol
Dateca. 1930-1939
drypoint on paper
Not on view
Joseph C. Claghorn, On Deerfield Street (Old House at Deerfield), n.d., etching on paper, Smithsonian American Art Museum, Gift of Constance Claghorn, 1971.94
On Deerfield Street (Old House at Deerfield)
Daten.d.
etching on paper
Not on view

More Artworks from the Collection

Edward Sachse, Smithsonian Institute, ca. 1855, hand-colored lithograph, Smithsonian American Art Museum, Gift of Al Marzorini in honor of Harry Lowe, 2019.23
Smithsonian Institute
Dateca. 1855
hand-colored lithograph
Not on view
Marching As to War
Daten.d.
color etching
Not on view
Pharoh’s Horses
Artist
Unidentified (British)
Daten.d.
engraving
Not on view