Latest posts tagged with #TheNewDeal on Bluesky
#OTD in 1938
‘WPA: California, San Francisco, Chinese Nursery School. Art Projects. March 14, 1938, day of Eleanor Roosevelt’s visit.’
#preschool #artprojects #teachingart #EleanorRoosevelt #WPA #TheNewDeal #education #ChineseAmericans #SanFrancisco
In #MARCH 1936
‘Trading post at Cumberland Homesteads, Crossville, Cumberland, Tennessee’ #ResettlementAdministration photographer Carl Mydans (1907-2004)
#TheNewDeal #CarlMydans #SubsistenceHomesteads #CumberlandHomesteads #Tennessee
#blackandwhitephotography
Greenbelt, Maryland. One of the (very many) pedestrian underpasses - and apartment houses. Photograph by Marjory Collins (1912-1985). May-June 1942.
#urbanplanning #cityplanning #ResettlementAdministration #RA #Greenbelt #Maryland #TheNewDeal
‘Sketch of Greenbelt project, Maryland’ Greenbelt, Prince Georges, Maryland. 1935.
#urbanplanning #cityplanning #ResettlementAdministration #RA #Greenbelt #Maryland #TheNewDeal
‘Model of pedestrian underpass’ Greenbelt, Maryland. #ResettlementAdministration photographer Carl Mydans (1907-2004). 1935 or 1936.
#blackandwhitephotography #CarlMydans #urbanplanning #cityplanning #ResettlementAdministration #RA #Greenbelt #Maryland #TheNewDeal
In #MARCH 1935
👇🧵
Planning a new (rigorously pedestrian-oriented) town and community, #Greenbelt, #Maryland
‘Drawing of underpass, Greenbelt project, Maryland. March 1935.’
#TheNewDeal #ResettlementAdministration #RA Suburban Resettlement Division
@livingnewdeal.bsky.social
3 #March #WorldWildlifeDay
‘American Moose’ Boris Gilbertson (1907-1982). Marble relief. Department of the of Interior Building, Washington DC. Treasury Section of Fine Arts. 1939.
#wildlife #moose #biodiversity #basrelief #sculpture #BorisGilbertson #TheNewDeal
‘Born Benzion Elias Delman in Jerusalem, Palestine, this NDG artist studied at the Bazelel Academy of Arts and Design and then in Paris before immigrating to New York in 1915. As of 1918 he was a staff artist for the Jewish Daily News. Delman became a citizen in 1923, and eventually moved to Chicago in 1942. His works were featured in exhibits sponsored by the National Academy of Design (1932), the New York City WPA - “Market Scenes” at the USDA in 1941, along with NDG artists Fred Adler and Herman Copen - and by the Art Institute of Chicago (1947). Delman is a study in perseverance: during the late 1940s he was working in the notions department at Mandel Brothers’ department store in Chicago, and did most of his painting (and etching) at night.’ https://openvalley.org/items/show/1128
#OTD in 1937
‘The Goldfish Globe’ Ben Delman (1898-1973). Oil Painting. Federal Art Project. 9 March, 1937. New Deal Gallery, Genesee Valley Council on the Arts.
👉ALT
#WPA #FederalArtProject #TheNewDeal
#OTD in 1936
‘Mrs. Lizzie Chambers and Mrs. Mary Collier piecing #quilts while Mrs. Octa Self, forelady of the quilting project directs the pattern they are to follow. Photographer unknown. WPA, Nashville, Tennessee. March 9, 1936.’
#WPA #FederalArtProject #TheNewDeal #quilting
#OTD in 1936
‘Negro Students of Utica Industrial Institute in Hinds County, Mississippi raising prize hogs. National Youth Administration. March 9, 1936.’
Franklin D. Roosevelt Presidential Library & Museum
#GreatDepression #TheNewDeal #NationalYouthAdmininstration #NYA
https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-2/box-28-folder-5 fedeartp14-box-28-folder-5
#OTD in 1937
‘Scenic Design Proj[ect] Model Making’
Photographic Division, #FederalArtProject W.P.A., documenting the work of ‘Scenic Designers & Model Makers’, #WPA Federal Art Project, Stage Sets & Dioramas Division
7 March, 1937
#blackandwhitephotography #TheNewDeal #museology
‘The New Deal Ice Palace; #LakeBemidji, #Minnesota’
Civil Works Administration. March 1934.
The larger FERA (1933), then the WPA (1935), would continue to provide (less idealistic) work relief.
#CWA #TheNewDeal #GreatDepression #workrelief #NRA #NationalRecoveryAdministration
3 #MARCH #WorldWildlifeDay
‘Don't Kill Our Wild Life’
Color silkscreen
NYC: Works Progress Administration, Federal Art Project
Ca. 1936-1940
@livingnewdeal.bsky.social
#TheNewDeal #WPA #poster #wildlife #deer #conservation #biodiversity
FDR’s statement at the dedication of the Norris Dam
March 4, 1936
Franklin D. Roosevelt Presidential Library
#FDR #TennesseeValleyAuthority #TVA #NorrisDam #TheNewDeal
FDR pressing the key to the Norris Dam
March 4, 1936
Franklin D. Roosevelt Presidential Library
#blackandwhitephotography #FDR #TennesseeValleyAuthority #TVA #NorrisDam #TheNewDeal
#FrancesPerkins was a Major Author of #TheNewDeal:
3 #MARCH #WorldWildlifeDay
‘Wild life. The National Parks Preserve All Life’
Color silkscreen by #FrankSNicholson
#NationalParkService.
NYC Art Project, Works Projects Administration
Ca. 1936-1940
@livingnewdeal.bsky.social
#TheNewDeal #WPA #poster #conservation #biodiversity
#OTD in 1938
[Early Indian Life, Long Island?] Photographic Division, #WPA #FederalArtProject, documenting the work of ‘Scenic Designers & Model Makers’, W.P.A. Federal Art Project, Stage Sets & Dioramas Division
3 March, 1938
#blackandwhitephotography #TheNewDeal #museology
https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-2/box-28-folder-5 fedeartp14-box-28-folder-5 18.8.20
#OTD in 1938
[Early Indian Life, Long Island?] Photographic Division, #WPA #FederalArtProject, documenting the work of ‘Scenic Designers & Model Makers’, W.P.A. Federal Art Project, Stage Sets & Dioramas Division
3 March, 1938
#blackandwhitephotography #TheNewDeal #museology
#OTD in 1936
‘Exhibit display. Craft Work from #GovernorsIsland #CCC Camp under direction of #FederalArtProject W.P.A. Federal Art Project, Photographic Division collection. #CivilianConservationCorps Camps Training School, circa 1936-circa 1942. 2 March 1936.’
#TheNewDeal #WPA
image from https://livingnewdeal.org/what-was-the-new-deal/new-deal-inclusion/american-indians-and-the-new-deal/
#OTD in 1935
This #NavajoNation school building in #Burnham, #NewMexico, was built in 1934-1935 with funds from the #PublicWorksAdministration (#PWA). Photo from *Indians At Work*, U.S. Office of Indian Affairs, March 1, 1935 edition.
@livingnewdeal.bsky.social
#NativeAmericans #TheNewDeal
'Workers scurry like busy ants to complete the University of Pittsburgh’s lofty Cathedral of Learning. The men and trucks trample the winter’s snow into mud as they labor through the frigid winter of 1933–1934 to house much-needed new classrooms. Carpenters nail timbers together to finish the scaffolding. The main part of the structure rises at the upper right, already clad in limestone blocks, while masons are still covering the lower stories of the façade... Behind the Cathedral of Learning stand the gleaming white columns of the Mellon Institute Building, which was also under construction. ... Together, the two paintings tell the story of this mighty undertaking. ... Like the Empire State Building & the Golden Gate Bridge, the Cathedral of Learning demonstrated that the...Depression could not stop Americans from accomplishing great things.'
'Finishing the #CathedralofLearning'
Harry W. Scheuch (1906-1978) Oil on canvas #PublicWorksOfArtProject (#PWAP)
Smithsonian Museum of #AmericanArt (from the US Dept. of Labor) 1934
👉ALT
#HarryScheuch #AmericanArt #TheNewDeal #GreatDepression #construction #constructionworkers
‘Artist Harry Scheuch painted the Cathedral of Learning twice for the PWAP. The first image is a close-up view of the masons at work, while this second painting is a more distant view that reveals the horde of workers involved. Together the two paintings tell the story of this mighty undertaking. The forty-two-story structure was not substantially completed until 1937, and some interior work continued for decades after that. Like the Empire State Building and the Golden Gate Bridge, the Cathedral of Learning demonstrated that the Great Depression could not stop Americans from accomplishing great things.’ images and words quoted from https://www.flickr.com/photos/americanartmuseum/3314830802/in/pool-1934/
#WINTER 1933-1934 - the #PublicWorksOfArtProject (#PWAP)
🧵👇
‘Workers on the Cathedral of Learning’
Harry W. Scheuch (1906-1978). Oil on canvas.
Smithsonian Museum of #AmericanArt (from US Dept. of Labor) 1934
👉ALT
#HarryScheuch #TheNewDeal #CathedralOfLearning #Pittsburgh
'...two Native Americans from Taos Pueblo: a man wrapped in a traditional white blanket & a woman wearing a colorful shawl. This serene painting speaks of the deep love Hennings felt for Taos, New Mexico, where he was a leading member of the artists’ colony. His subjects walk quietly through the snow together as the sun sets behind them. In works like this, Hennings created poetic visual connections between the people of Taos & the stunning high desert where they lived. Here the artist contrasts the man’s warm blanket, lit by the golden sunset, with the cold covering of snow on the ground, cast into blue shadows by the hills in the west. Hennings links the two figures to their home landscape by likening them to the tall native sunflowers standing against the sky with their long stalks gracefully intertwined. While many PWAP artists documented timely scenes of the Great Depression, Hennings chose to celebrate the continuity of local traditions.’ https://www.flickr.com/groups/1934/...
The #WINTER of 1933-1934 - the Public Works of Art Project (#PWAP)
‘Homeward Bound’
E. Martin Hennings (1866-1956) Oil on canvas Smithsonian #AmericanArt Museum (from US Dept. of Labor). 1934.
👉ALT
#EMartinHennings #AmericanArt #TheNewDeal #TaosPueblo #NativeAmericans #landscape
#OTD in 1931
(Depression humor)
'Gosh, Joe, there ain't no justice!' Cartoon by Ralph Fuller from *Life*, February 27, 1931.
#cartoons #cartoonists #RalphFuller #GreatDepression #bankingcrisis #bankruns #TheNewDeal
#FEBRUARY 1936: #TheNewDeal & #cartoons
🧵👇
#TheNewDeal and cartoons: art criticism
‘Got any Government murals you want removed?'
Cartoon by George Price from *Life*, Feb. 1936
#GeorgePrice #GreatDepression #WPA #FederalArtProject #TreasurySectionofFineArts #PostOfficeMurals
![‘… without a patron [Tait] could not take on this project. When the [PWAP] gave her support in the winter of 1933–1934, the artist had her opportunity. As skaters & sledders flocked to the frozen lake & snowy slopes of Central Park, Tait joined them to sketch the winter fun. Then she retreated to her studio to make her painting.
Tait showed the park in late afternoon as the Manhattan sky began to blush & the street lamps to glow, but skating & sledding were still in full swing. Once she had the landscape painted, Tait added figures in groups to create a colorful pattern against the snow and ice. The dark branches of the bare trees make a more subtle design against the white snow and mist & the golden sky. Around the ends of tree branches & in patches along the snow banks, Tait painted areas of gray into which she drew snow-covered twigs & grasses by scraping away the gray paint with the end of her paintbrush.’ - https://www.flickr.com/photos/americanartmuseum/3266718781/in/pool-1934/
[image from https://www.flickr.com/photos/ctankcycles/3684877407/]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lcxdn7fcxeec4lw454ihzair/bafkreiblyg4kundbqkfdxlbqsucpqclual5rzbtf6i6te2drxzrqnugqti)
‘… without a patron [Tait] could not take on this project. When the [PWAP] gave her support in the winter of 1933–1934, the artist had her opportunity. As skaters & sledders flocked to the frozen lake & snowy slopes of Central Park, Tait joined them to sketch the winter fun. Then she retreated to her studio to make her painting. Tait showed the park in late afternoon as the Manhattan sky began to blush & the street lamps to glow, but skating & sledding were still in full swing. Once she had the landscape painted, Tait added figures in groups to create a colorful pattern against the snow and ice. The dark branches of the bare trees make a more subtle design against the white snow and mist & the golden sky. Around the ends of tree branches & in patches along the snow banks, Tait painted areas of gray into which she drew snow-covered twigs & grasses by scraping away the gray paint with the end of her paintbrush.’ - https://www.flickr.com/photos/americanartmuseum/3266718781/in/pool-1934/ [image from https://www.flickr.com/photos/ctankcycles/3684877407/]
#WINTER 1933-1934 – The #PublicWorksOfArtProject (#PWAP)
‘Skating in Central Park’ Agnes Tait (1894-1981). 1934. Oil on canvas. Smithsonian American Art Museum (from US Dept. of Labor)
👉ALT
#AgnesTait #AmericanArt #TheNewDeal #GreatDepression #iceskating #CentralPark #ThePond
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
