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[6]: 58–59 [7] This contrasts with the work-relief mission of the Federal Art Project (1935–1943) of the Works Progress Administration, the largest of the New Deal art projects. So great was its scope and cultural impact that the term "WPA" is often mistakenly used to describe all New Deal art, including the U.S. post office murals.
The Public Works of Art Project (PWAP) was a New Deal work-relief program that employed professional artists to create sculptures, paintings, crafts and design for public buildings and parks during the Great Depression in the United States.
[2] [6]: 58–59 This contrasts with the work-relief mission of the Federal Art Project (1935–1943) of the Works Progress Administration, the largest of the New Deal art projects. So great was its scope and cultural impact that the term "WPA" is often mistakenly used to describe all New Deal art, including the U.S. post office murals.
The Federal Art Project was the visual arts arm of Federal Project Number One, a program of the Works Progress Administration, which was intended to provide employment for struggling artists during the Great Depression. Funded under the Emergency Relief Appropriation Act of 1935, it operated from August 29, 1935, until June 30, 1943. It was ...
Copper Miner (1936) by Raymond Phillips Sanderson, located at Cochise County Courthouse in Bisbee, Arizona [1]. New Deal artwork is an umbrella term used to describe the creative output organized and funded by the Roosevelt administration's New Deal response to the Great Depression. [2]
The Ten, also known as The Ten Whitney Dissenters, were a group of New York–based artists active from 1935 to 1940. [1] [a] Expressionist in tendency, the group was founded to gain exposure for its members during the economic difficulty of the Great Depression, and also in response to the popularity of Regionalism which dominated the gallery space its members sought.
Rivera was a controversial choice for this art project, as he was known to follow Marxist philosophy. The Depression had disrupted American faith in industrial and economic progress. Some critics viewed the murals as Marxist propaganda. When the murals were completed, the Detroit Institute for the Arts invited various clergymen to comment.
The Public Works of Art Project was a program to employ artists during the Great Depression. It was the first such program, running from December 1933 to June 1934. It was headed by Edward Bruce, under the United States Treasury Department and funded by the Civil Works Administration. [10]