Public Art of the WPA

   During the New Deal, the United States government provided jobs for millions of starving Americans.  For the most part, these jobs entailed work on some form of civic improvement.  There were many artists among those put to work in the public sector.  The thinking behind the employment of so many artists during a time of such severe economic crisis was that all Americans, not just the rich and social elite, needed to be familiar with the arts for America to be truly democratic.  Thus, many artists found work painting murals in public places such as post-offices, jails, schools, and gyms. Prior to the New Deal, most Americans had never seen an original painting.  The original art of the New Deal that was placed in public places allowed people of all socio-economic backgrounds and from all areas of the country access to original art.
    The examples below were chosen for their participation in one or more prevalent themes of the Depression era.  Although many of these paintings may seem bland or insignificant, it was not so at the time of their creation.  While the realism of these pieces is commonplace today, it was likely to have been the subject of controversy during the Depression era.  Moreover, what may seem like unimportant subject matter to us, such as farmers or men working in a factory, was rather important during a time when everyday life was so very connected to working or finding work.  Further, the fact that such subjects were of great importance provides us with a wonderful idea of the "flavor" of the era in which these works were produced.
  

Hollis Holbrook, "Reforestation," Haleyville, Alabama.


 As mentioned before, a common theme of the WPA/FAP art found in public places was the relation of people to their work.  This particular mural participates more specifically in a series of paintings on farmers and erosion and conservation of the soil.  Again, the highly practical aspect of art is demonstrated here as this painting could have served as advice for farmers who would have seen it in the post office.  The painting contrasts the practices of the CCC and a forest ranger in the right foreground with "unscientific" farming and the resulting erosion in the left background.  The artist, Hollis Holbrook, said of this painting: "After viewing the  country and seeing it laid bare to deep gashes caused by erosion and thinking about the future of those who would follow this generation and have nothing, no soil, to work an knowing that it takes generations to bring back the soil, I cannot but feel that a kindly interpretation of soil conservation might be helpful to those people."


 Jac T. Bowen, "Industrial Activity in the City," Higginsville, Missouri.


Work is again an important theme here.  According to Jac T. Bowen, the artist, "The people of Higginsville are workers, not players.  Therefore, the important sides of their lives is their work, of which they are proud."  This mural is an excellent illustration of the New Deal motto "Work makes America."  Although murals depicting the work of industrial America typically illustrated the workers as heroes, this mural deviates somewhat from this theme by making the machinery larger than the workers.  It does, however, like many of the murals it differs from, exclude the town.  Bowen comments, "Work made the town--work is building the town-- and work will be the theme of their future".


 Nicolai Cikovsky, "The Old Tavern," Silver Spring, Maryland.


 The artist of the WPA murals were limited.  Ideally the artist would work directly on the wall that would have the mural. Most artists, however, were forced to work on canvases, referring to blueprints as they worked.  These canvases were later attached to the wall (as above) and in fact, many artists never saw their work in its final form.


 Stephen Etnier, "Mail for New England," Boston, Massachusetts.


Thematically, the murals of the WPA also participate in regionalist categories.  The murals of New England, for instance, typically exhibit a diversity of both historical and contemporary scenes of industry and agriculture.  Some murals, like the one above, present the viewer with scenes of the beauty of New England.  The harbor in the background is set against the scene of the mail in the foreground.
 
 
 

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All information from this section was drawn from:
**Park, Marlene and Gerald E. Markowitz. Democratic Vistas: Post Offices and Public Art in the New Deal.
Philadelphia: Temple University Press, 1984.