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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 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] Artists ...
There was no specific Art Deco style of painting in the United States, though paintings were often used as decoration, especially in government buildings and office buildings. In the 1932 the Public Works of Art Project was created to give work to artists unemployed because the Great Depression. In a year, it commissioned more than fifteen ...
Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project. Boston: New York Graphic Society. ISBN 9780821204399. "1934: A New Deal for Artists" is an exhibition featuring artworks from the Public Works of Art Project at the Smithsonian American Art Museum. This site contains a slide show, public ...
Partly due to the Great Depression, Regionalism became one of the dominant art movements in America in the 1930s, the other being Social Realism. At the time, the United States was still a heavily agricultural nation, with a much smaller portion of its population living in industrial cities such as New York City or Chicago .
In 1932, Wood helped found the Stone City Art Colony near his hometown to help artists get through the Great Depression. He became a great proponent of regionalism in the arts, [10] lecturing throughout the country on the topic. [11] As his classically American image was solidified, his bohemian days in Paris were expunged from his public ...
During the Great Depression, White tried to conceal his passion for art in fear of embarrassment; however, this ended when White got a job painting signs at the age of fourteen. White learned how to mix paints by sitting-in every day for a week on an Art Institute sponsored painting class that was taking place at a park near his home. [ 8 ]