‘Festival’ Daniel Celentano (1902-1980) #TheNewDeal’s Public Works of Art Project #PWAP 1934
The Gashouse District along the East River was home to the least affluent, mainly recent immigrants, as the gas plants leaked noxious fumes.
#AmericanArt #DanielCelentano
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Winter’
Dacre F. Boulton. Oil on canvas.
Smithsonian American Art Museum (Transfer from the U.S. Department of Labor).
#DacreBoulton #PWAP #AmericanArt #TheNewDeal #cityscape
![‘Trains, trucks, & industrial buildings were what Karl Fortess envisioned when the [PWAP] suggested that he depict “the American Scene.” The artist left his home in the picturesque artists’ colony of Woodstock, New York, & traveled ten miles to Kingston to make this painting. Kingston had long been a thriving Hudson River port town that supplied Pennsylvania coal & local brick, stone, and cement to New York City. The Depression slowed shipping, but a newly invented concrete mixture stimulated the local cement business. Fortess’s pictorial research at Kingston was demanding, as he noted, “Inclement weather and bad roads have made it impossible to go into Kingston as often as necessary.”
Fortess described his painting as “a view of the Kingston Point railway yard, showing track intersections, [a] station, freight trains...shacks, & [a] background of buildings with a suggestion of a plain and barren winter trees [on] a grey day.”
www.flickr.com/photos/ctankcycles/3685688430/in/pool-1934/](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lcxdn7fcxeec4lw454ihzair/bafkreigcoulrryfhjy75eqmcpit2g2bexziij7qbddostaw5jxgj3ht5cu)
‘Trains, trucks, & industrial buildings were what Karl Fortess envisioned when the [PWAP] suggested that he depict “the American Scene.” The artist left his home in the picturesque artists’ colony of Woodstock, New York, & traveled ten miles to Kingston to make this painting. Kingston had long been a thriving Hudson River port town that supplied Pennsylvania coal & local brick, stone, and cement to New York City. The Depression slowed shipping, but a newly invented concrete mixture stimulated the local cement business. Fortess’s pictorial research at Kingston was demanding, as he noted, “Inclement weather and bad roads have made it impossible to go into Kingston as often as necessary.” Fortess described his painting as “a view of the Kingston Point railway yard, showing track intersections, [a] station, freight trains...shacks, & [a] background of buildings with a suggestion of a plain and barren winter trees [on] a grey day.” www.flickr.com/photos/ctankcycles/3685688430/in/pool-1934/
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Island Dock Yard’
Karl Fortess (1907-1993). Oil on canvas. 1934.
Smithsonian American Art Museum (from the U.S. Department of Labor)
👉ALT
#KarlFortess #PWAP #AmericanArt #TheNewDeal
Yet artists like Bettersworth still found homes there and with the advent of the Depression, low rents attracted a new generation of poverty-stricken young poets and painters to the Village’s storied garrets. Perhaps the colorful aura of the Village appealed to Franklin Delano Roosevelt, who chose this modest canvas to hang in the White House.’ https://www.flickr.com/photos/americanartmuseum/3267538838/in/pool-1934/
Detail
👉ALT
#BeulahBettersworth #PWAP #AmericanArt #GreatDepression #TheNewDeal #GreenwichVillage #ChristopherStreet #El #Elstation #WhiteHouse
‘The warmth from the radiator is almost palpable ..., contrasting with the snowy city seen through the window. The distinctive blue-tiled tower of the American Furniture Mart identifies the setting as Chicago, where ... Johnson & his wife ... came to attend an exhibition of the artist’s work shortly after they had wed in New York in December 1931. The artist lovingly portrayed his beautiful young wife reading in their hotel room. The warm browns, yellows, & oranges raise the visual temperature, heightened further by hot touches of red in the drapery & in Mrs. Johnson’s lips, cheeks, magazine, & chair. A heavy fur coat laid to dry by the radiator shows that Mrs. Johnson has recently come in to escape the frigid winds from Lake Michigan. ... In 1937 & 1939 Johnson returned to Chicago to fulfill commissions from the Treasury Section of Fine Arts for historical murals in the Morgan Park & Oak Park Post Offices.’ https://www.flickr.com/photos/americanartmuseum/3313966973/in/pool-1934/
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Chicago Interior’
J. Theodore Johnson (1902-1963). Oil on canvas. Smithsonian American Art Museum (from the U.S. Department of Labor). 1934.
👉ALT
#JTheodoreJohnson #PWAP #AmericanArt #TheNewDeal #GreatDepression
![‘… Many of these artworks have since been lost, stolen or scattered. The US General Services Administration (GSA) is charged with recovering them. The recovery of … “Fourteenth Street at Sixth Avenue,” took a convoluted path.
Produced under the [PWAP], the painting hung in the Washington, DC, office of New York Senator Royal S. Copeland until his death in 1938. When Senator James Byrnes took over Senator Copeland’s office, the painting was no longer there. A congressional staffer found the unframed painting in a pile of trash next to a dumpster and took it home. When the staffer died, his sister acquired the painting. She didn’t know that the art belonged to the people of the United States until 2003. That’s when it appeared on the Antiques Road Show valued at $750,000! The GSA learned about the painting & entered into an agreement under which it is now on long-term loan to the Detroit institute of Arts.’
https://livingnewdeal.org/new-dealish-fourteenth-street-at-sixth-avenue/](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lcxdn7fcxeec4lw454ihzair/bafkreibnqzitwyoacozenpwjb6tbymawxsb2bt76ogpdaeq4mqzunh557e)
‘… Many of these artworks have since been lost, stolen or scattered. The US General Services Administration (GSA) is charged with recovering them. The recovery of … “Fourteenth Street at Sixth Avenue,” took a convoluted path. Produced under the [PWAP], the painting hung in the Washington, DC, office of New York Senator Royal S. Copeland until his death in 1938. When Senator James Byrnes took over Senator Copeland’s office, the painting was no longer there. A congressional staffer found the unframed painting in a pile of trash next to a dumpster and took it home. When the staffer died, his sister acquired the painting. She didn’t know that the art belonged to the people of the United States until 2003. That’s when it appeared on the Antiques Road Show valued at $750,000! The GSA learned about the painting & entered into an agreement under which it is now on long-term loan to the Detroit institute of Arts.’ https://livingnewdeal.org/new-dealish-fourteenth-street-at-sixth-avenue/
The #WINTER of 1933-1934 - the #PublicWorksOfArtProject #PWAP
‘Fourteenth Street at Sixth Avenue’
John Sloan (1871–1951)
Tempera & oil emulsion on Masonite fiberboard
Public Works of Art Project
Detroit Institute of Arts. 1934.
👉ALT
#AmericanArt #TheNewDeal #cityscape
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Rock Creek in Winter’
Benson B. Moore. (1882-1974). Softground etching on paper. Ca. 1934.
Smithsonian American Art Museum. Gift of Sade C. Styron.
#BensonMoore #PWAP #AmericanArt #TheNewDeal #landscape
![‘[The] painting tells how power shaped the town of Proctor, Vermont. Sutherland Falls, roaring down the middle of this snowy image, is also central to the town where the major industry is a large marble quarry... Part of the marble quarry complex is visible at the top... A standpipe for the quarry stands near the creek, colorfully enclosed by blue siding with red trim. Originally, a water-powered mill used belts to drive saws & other heavy equipment... In 1905 the…company replaced the mill with a hydroelectric plant [seen right]... A large pipe running parallel to the waterfall feeds surging water into the plant, which powers the quarry & the town. This power helped to carve out…blocks for such projects as the Supreme Court building in Washington, DC…. But…natural sources…persisted... A man in the foreground uses muscle power to load his sled with logs he will split & burn in his fireplace to keep the winter cold at bay.’
https://www.flickr.com/photos/americanartmuseum/with/3266718781/](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lcxdn7fcxeec4lw454ihzair/bafkreia3p2dl2vh26nq5na5v3d6xjq4vhi4pb2coxb5z7vhf4vyc6aw7oa)
‘[The] painting tells how power shaped the town of Proctor, Vermont. Sutherland Falls, roaring down the middle of this snowy image, is also central to the town where the major industry is a large marble quarry... Part of the marble quarry complex is visible at the top... A standpipe for the quarry stands near the creek, colorfully enclosed by blue siding with red trim. Originally, a water-powered mill used belts to drive saws & other heavy equipment... In 1905 the…company replaced the mill with a hydroelectric plant [seen right]... A large pipe running parallel to the waterfall feeds surging water into the plant, which powers the quarry & the town. This power helped to carve out…blocks for such projects as the Supreme Court building in Washington, DC…. But…natural sources…persisted... A man in the foreground uses muscle power to load his sled with logs he will split & burn in his fireplace to keep the winter cold at bay.’ https://www.flickr.com/photos/americanartmuseum/with/3266718781/
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Natural Power’
Raymond White Skolfield (1909-1996) Oil on canvas. Smithsonian American Art Museum (from the U.S. Department of Labor) 1934.
👉ALT
#RaymondWhiteSkolfield #PWAP #AmericanArt #TheNewDeal #landscape
‘The old brick building in the foreground displays the Blue Eagle symbol of the National Recovery Administration in its window to indicate that the lumber company adheres to the NRA’s codes for prices, wages, and work hours. The negotiation of NRA codes set off strikes in many industries, and the shipbuilding business was no exception. In early 1934, after the strikes were settled, New York shipyards still lacked work and pleaded for federal government projects to keep men employed. A few years later World War II would bring record numbers of workers to the shipyards that languish idle here under gray skies.’ https://www.flickr.com/photos/americanartmuseum/3267538786/in/pool-1934/
👉ALT
#SaulBerman #PWAP #AmericanArt #TheNewDeal #GreatDepression #BrooklynNavyYard #landscape #cityscape
Smith showed them gathered into the ranks of #theNewDeal social programs that offered them all the means to get through the winter. A boy pulling a sled walks alongside the men, a reminder of the families who looked to these men for their support.’
#AmericanArt #PWAP
Smithsonian American Art Museum, from US Dept. of Labor image and words quoted from https://www.flickr.com/photos/americanartmuseum/3382370658/in/pool-1934/
In #DECEMBER 1933
🧵👇
‘Snow Shovelers’ #JacobGetlarSmith (1898-1958) Oil on canvas 1934
‘Many artists went out into the cold to find subjects after the [#PublicWorksofArtProject] #PWAP began in December 1933. Jacob Getlar Smith found men hired by the government’s new work ➡️
👇#WilliamHerschel #IsaacNewton #JohannesKepler
#AstronomersMonument #GriffithObservatory #GriffithPark #LosAngeles #TheNewDeal #PWAP
Car accident, with Knickerbocker Company No. 5. From Victor Arnautoff’s “City Life.” Fresco, Coit Tower, 1934. https://juliacoynerrobinson.wordpress.com/category/histories/
(1896-1979), in fact, includes a fire engine speeding down a hill, and its ‘5’ can only be in honor of Knickerbocker Company No. 5 & Lillie Hitchcock Coit.
@livingnewdeal.bsky.social
#CoitTower #SanFrancisco #LillieHitchcockCoit #VictorArnautoff #PWAP #PublicWorksOfArtProject #firefighters
#AUTUMN & the #PublicWorksOfArtProject
‘Autumn Fields’
Edward Bruce (1879-1943), who himself headed #theNewDeal’s #PWAP, The #TreasurySection of Painting & Sculpture & the Treasury Relief Art project #TRAP. Oil on canvas #SmithsonianAmericanArtMuseum.
#AmericanArt #EdwardBruce
#AUTUMN at #Taos & the #PublicWorksOfArtProject (PWAP)
‘Fall in the Foothills’
W. Herbert Dunton (1878-1936)
Oil on canvas #SmithsonianAmericanArtMuseum (from the U.S. National Park Service) 1934
#AmericanArt #WHerbertDunton #TheNewDeal #PWAP #AmericanArt #autumncolors
‘Festival’ Daniel Celentano (New York 1902-1980). Oil on canvas. Public Works of Art Project. Smithsonian American Art Museum. Transfer from the U.S. Department of Labor. 1934.
👉ALT
@livingnewdeal.bsky.social
#DanielCelentano #TheNewDeal #PWAP #AmericanArt
#PRIDEMONTH
#Pride prehistory 1934
🧵👇
‘The Fleet’s In!’ #PaulCadmus (1904-1999)
Painted for the #PublicWorksofArtProject #theNewDeal’s first work relief program for artists, (12/33-6/34), it was destined for the #PWAP exhibition at DC’s #CorcoranGallery - and for controversy.
#PRIDEMONTH
#Pride prehistory 1934
🧵👇
‘The Fleet’s In!’ #PaulCadmus (1904-1999)
Painted for the #PublicWorksofArtProject #theNewDeal’s first work relief program for artists, (12/33-6/34), it was destined for the #PWAP exhibition at DC’s #CorcoranGallery - and for controversy.
Its distinctive form clearly recognizable in John Cunning’s meticulously observed ‘Manhattan Skyline’, 1934, the building had already been overtaken in 1909 (Metropolitan Life Tower) and by now several skyscrapers had surpassed it.
#PublicWorksofArtProject #PWAP #JohnCunning
‘Festival’ Daniel Celentano (1902-1980) #TheNewDeal’s Public Works of Art Project #PWAP 1934
The Gashouse District along the East River was home to the least affluent, mainly recent immigrants, as the gas plants leaked noxious fumes.
#AmericanArt #DanielCelentano
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Winter’
Dacre F. Boulton. Oil on canvas.
Smithsonian American Art Museum (Transfer from the U.S. Department of Labor).
#DacreBoulton #PWAP #AmericanArt #TheNewDeal #cityscape
![‘Trains, trucks, & industrial buildings were what Karl Fortess envisioned when the [PWAP] suggested that he depict “the American Scene.” The artist left his home in the picturesque artists’ colony of Woodstock, New York, & traveled ten miles to Kingston to make this painting. Kingston had long been a thriving Hudson River port town that supplied Pennsylvania coal & local brick, stone, and cement to New York City. The Depression slowed shipping, but a newly invented concrete mixture stimulated the local cement business. Fortess’s pictorial research at Kingston was demanding, as he noted, “Inclement weather and bad roads have made it impossible to go into Kingston as often as necessary.”
Fortess described his painting as “a view of the Kingston Point railway yard, showing track intersections, [a] station, freight trains...shacks, & [a] background of buildings with a suggestion of a plain and barren winter trees [on] a grey day.”
www.flickr.com/photos/ctankcycles/3685688430/in/pool-1934/](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lcxdn7fcxeec4lw454ihzair/bafkreihqnla2iuzuvzhgjeaksk4tdwcxastkxnssftz5jd6n4meujgerey)
‘Trains, trucks, & industrial buildings were what Karl Fortess envisioned when the [PWAP] suggested that he depict “the American Scene.” The artist left his home in the picturesque artists’ colony of Woodstock, New York, & traveled ten miles to Kingston to make this painting. Kingston had long been a thriving Hudson River port town that supplied Pennsylvania coal & local brick, stone, and cement to New York City. The Depression slowed shipping, but a newly invented concrete mixture stimulated the local cement business. Fortess’s pictorial research at Kingston was demanding, as he noted, “Inclement weather and bad roads have made it impossible to go into Kingston as often as necessary.” Fortess described his painting as “a view of the Kingston Point railway yard, showing track intersections, [a] station, freight trains...shacks, & [a] background of buildings with a suggestion of a plain and barren winter trees [on] a grey day.” www.flickr.com/photos/ctankcycles/3685688430/in/pool-1934/
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Island Dock Yard’
Karl Fortess (1907-1993). Oil on canvas. 1934.
Smithsonian American Art Museum (from the U.S. Department of Labor)
👉ALT
#KarlFortess #PWAP #AmericanArt #TheNewDeal
Yet artists like Bettersworth still found homes there and with the advent of the Depression, low rents attracted a new generation of poverty-stricken young poets and painters to the Village’s storied garrets. Perhaps the colorful aura of the Village appealed to Franklin Delano Roosevelt, who chose this modest canvas to hang in the White House.’ https://www.flickr.com/photos/americanartmuseum/3267538838/in/pool-1934/
Detail
👉ALT
#BeulahBettersworth #PWAP #AmericanArt #GreatDepression #TheNewDeal #GreenwichVillage #ChristopherStreet #El #Elstation #WhiteHouse
‘The warmth from the radiator is almost palpable ..., contrasting with the snowy city seen through the window. The distinctive blue-tiled tower of the American Furniture Mart identifies the setting as Chicago, where ... Johnson & his wife ... came to attend an exhibition of the artist’s work shortly after they had wed in New York in December 1931. The artist lovingly portrayed his beautiful young wife reading in their hotel room. The warm browns, yellows, & oranges raise the visual temperature, heightened further by hot touches of red in the drapery & in Mrs. Johnson’s lips, cheeks, magazine, & chair. A heavy fur coat laid to dry by the radiator shows that Mrs. Johnson has recently come in to escape the frigid winds from Lake Michigan. ... In 1937 & 1939 Johnson returned to Chicago to fulfill commissions from the Treasury Section of Fine Arts for historical murals in the Morgan Park & Oak Park Post Offices.’ https://www.flickr.com/photos/americanartmuseum/3313966973/in/pool-1934/
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Chicago Interior’
J. Theodore Johnson (1902-1963). Oil on canvas. Smithsonian American Art Museum (from the U.S. Department of Labor). 1934.
👉ALT
#JTheodoreJohnson #PWAP #AmericanArt #TheNewDeal #GreatDepression
![‘[The] painting tells how power shaped the town of Proctor, Vermont. Sutherland Falls, roaring down the middle of this snowy image, is also central to the town where the major industry is a large marble quarry... Part of the marble quarry complex is visible at the top... A standpipe for the quarry stands near the creek, colorfully enclosed by blue siding with red trim. Originally, a water-powered mill used belts to drive saws & other heavy equipment... In 1905 the…company replaced the mill with a hydroelectric plant [seen right]... A large pipe running parallel to the waterfall feeds surging water into the plant, which powers the quarry & the town. This power helped to carve out…blocks for such projects as the Supreme Court building in Washington, DC…. But…natural sources…persisted... A man in the foreground uses muscle power to load his sled with logs he will split & burn in his fireplace to keep the winter cold at bay.’
https://www.flickr.com/photos/americanartmuseum/with/3266718781/](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lcxdn7fcxeec4lw454ihzair/bafkreihdiktokouynfnwsokr6qtjp525mit7ydtuvceehvuxvqdjoor454)
‘[The] painting tells how power shaped the town of Proctor, Vermont. Sutherland Falls, roaring down the middle of this snowy image, is also central to the town where the major industry is a large marble quarry... Part of the marble quarry complex is visible at the top... A standpipe for the quarry stands near the creek, colorfully enclosed by blue siding with red trim. Originally, a water-powered mill used belts to drive saws & other heavy equipment... In 1905 the…company replaced the mill with a hydroelectric plant [seen right]... A large pipe running parallel to the waterfall feeds surging water into the plant, which powers the quarry & the town. This power helped to carve out…blocks for such projects as the Supreme Court building in Washington, DC…. But…natural sources…persisted... A man in the foreground uses muscle power to load his sled with logs he will split & burn in his fireplace to keep the winter cold at bay.’ https://www.flickr.com/photos/americanartmuseum/with/3266718781/
The #WINTER of 1933-1934 - the Public Works of Art Project (PWAP)
‘Natural Power’
Raymond White Skolfield (1909-1996) Oil on canvas. Smithsonian American Art Museum (from the U.S. Department of Labor) 1934.
👉ALT
#RaymondWhiteSkolfield #PWAP #AmericanArt #TheNewDeal #landscape
Smithsonian American Art Museum. Transfer from the U.S. Department of Labor. https://www.flickr.com/photos/americanartmuseum/3266718781/in/pool-1934/
#WINTER (#FEBRUARY) 1933-1934 #PublicWorksofArtProject #PWAP
🧵👇
‘Central Park’
Carl Gustaf Nelson (1898-1988)
Oil/canvas
‘Neither the cold of winter nor the gloom of the #GreatDepression kept the children of #NewYorkCity from enjoying #CentralPark... Artist #CarlNelson had ➡️
‘The old brick building in the foreground displays the Blue Eagle symbol of the National Recovery Administration in its window to indicate that the lumber company adheres to the NRA’s codes for prices, wages, and work hours. The negotiation of NRA codes set off strikes in many industries, and the shipbuilding business was no exception. In early 1934, after the strikes were settled, New York shipyards still lacked work and pleaded for federal government projects to keep men employed. A few years later World War II would bring record numbers of workers to the shipyards that languish idle here under gray skies.’ https://www.flickr.com/photos/americanartmuseum/3267538786/in/pool-1934/
👉ALT
#SaulBerman #PWAP #AmericanArt #TheNewDeal #GreatDepression #BrooklynNavyYard #landscape #cityscape
