C. Paul Jennewein

Jennewein's sculpture, which never strayed too far from the classical ideals that he had come to so admire while in Rome, became increasingly modernized and his style comfortably fits into the Greco Deco category.

In 1933, Jennewein sculpted Glory and Fame, the seventh issue in the long running Society of Medalists series.

[3] Several posthumous profiles of Jennewein have brought attention to his participation in the Great German Art Exhibitions (Große Deutsche Kunstausstellung) in Munich in 1937, 1938, and 1939.

[4][5][6] The shows were held annually in the House of German Art (Haus der Deustchen Kunst) from 1937-1944 with direct oversight from Adolf Hitler.

[7] According to Head of Archive at Haus Der Kunst Sabine Brantl, which succeeded the Haus der Deutschen Kunst after the fall of the Nazi Germany, the exhibitions "established an aesthetic and political space that served to implement and display" the ideological goals of Nazism, including the construction of an Aryan supremacist racial hierarchy.

[11] In 1938 he was selected in Munich to a group of 25 preferred artist who were allowed to display yearly more than 5 artworks at the Great German Art Exhibitions.

[14] After the war the US government apparently paid him almost 30,000 dollars compensation for the destruction of his art works bombed in Munich by Allied bombers.

[5] Because Jennewein's studio was located in the Van Nest section of the Bronx, an honorary street sign was designated on June 2, 2011, to reflect his 50 years of contributions to the world of art and sculpture.