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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.
As one of the projects in the New Deal during the Great Depression in the United States, the Public Works of Art Project (1933–1934) was developed to bring artist workers back into the job market and assure the American public that better financial times were on the way.
[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 bleak, empty street and storefronts are said to be a representation of the dire state of the city during the Great Depression. [1] Despite the title, Hopper has said that the painting was not necessarily based on a Sunday view. The painting was originally titled Seventh Avenue Shops. The addition of "Sunday" to the title was "tacked on by ...
The Federal Art Project (1935–1943) of the Works Progress Administration was the largest of the New Deal art projects. [1] As many as 10,000 artists [2] were employed to create murals, easel paintings, sculpture, graphic art, posters, photography, Index of American Design documentation, theatre scenic design, and arts and crafts. [3]
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.