~nfine exhibit:ion art fro Thof representat:ive Project of t~ We Federal Art Administration · · e Porks P rogress I to 5 p . resented dail S · m. Wedn d Y undays until 8 es ays and p. m.

,CHICAGO PA and THE ART RK DISTRICT INSTITUTE

ADMISSION FREE

GARFIELD PARK . A R T G . A L L .E R I E S . 100 NORTH CENTRAL PAR~ AVENUE N EW HORIZONS IN AMERICAN ART

Fl(OM. HOLyEI( CAHILL'S INTR._ODUCTION TO "NEW HOl(JZON::; IN AM.El(ICAN AR..T ," THE MUSEUM OF MODEl(N AR..T, NEW YOR...K 1936. Ml(. CAHILL J::; NATIONAL DIR.ECTOR... OF THE FEDEl(AL Al(T PR..OJECT.

The , which is represemcd in chis exhibition, was set ur in August, l935 , by Harry L. Hopkins , Administrator of the Works Prog­ ress Administration. This project has been functioning for a little more than a year. le cook over a number of small state projects operating under che Federal Emergency Relief Administration and unified chem under a national program . When che present Federal Arc Project was organized, che numher of artists on relief was approximately four thousand, and it was clear chat some­ thing like fifteen hundred or two thousand ochers, not yet on relief . were living on a margin of subsistence. Today, approximately fifty-three hundred artists are working on che Federal Arc Project, which is directed by a small staff in Washington . Artists , museum directors , -and arc teachers in public schools, colleges, and universities have been chosen co ace as advisers in the field and as state or regional directors . The organization of che Project has proceeded on the principle chat it is not the solitary genius but a sound general movement which maintains arc as a vital, functioning pare of any culcural scheme . In a genuine arc move­ ment a great reservoir of arc is created in many forms, both major and minor. In organizing the Federal Arc program the many forces which rend co build up a smind arc movement have been considered. An effort has been made to view American arc in perspective, both as co che past and as co the future . While the fate of the workers in che fine arcs has seemed of para­ mount importance, it is clear chat under rhe most favorable conditions these artistS' cannot drosper alone , nor can they by their solitary efforts create a fully develope arc movement in America . The importance of che integra­ tion between che fine arcs and che practical arcs has been recognized from che first by che Federal Arc Project , as an objective desirable in itself and as a means of drawing cogecher major eschecic forces in chis country. The problem of che young artist of distinguished but still emergent gifts has been of major concern. (In che present exhibition, 35 of the 48 artists included are between 22 and 35 years of age.) If American arc is co con­ tinue, the talents of che younger generation of artists muse not only be encouraged but muse be given an opportunity co develop. Under che Project arrangements have been made by which che experienced professional artist has directed the work of groups of young workers in che fine arcs. Some­ thing like che master -pupil relationship of the Renaissance has developed. For the young artist another relationship has seemed of importance . Because of che development of local or regional creative or teaching projects, the young artist has tended for perhaps the first time within che modern period co attack che problems of arc at home , in his own setting, among familiar surroundings, in che midst of a social life which he is likely co know well. This situation - pare of it enforced by che depression - has meant at lease a beginning coward a naturalization of arc in all our communities, an "New Horizons in American Art," an original exhibition of all t),pes of work. done under the Federal Art .Project of the . Work.s Progres s Administration, was arranged and shown by the .i\1useum of Modern Art in . during September and October 1936. It was intended to serve as a visual report to the public; a docu ­ ment ed sur ve)' of one year's activities. The material was assembled from every section of the United States, but was selected for its artistic value alone, no attempt being made to consider it frnm a regional aspect. From the Mural and Easel Painting sections of this significant exhibition, 60 representative items have been chosen for presentation at the Garfield Park. Art Galleries.

outcome which mL1st he achieved if our art is co he J.nything more rlun J.n efferve scence along the Atlantic seahoard . An auempc to hridge the gap hetween che American artist and rhe Amer ­ ican puhlic has governed che entire program of che FederJ.1 Art Project. Experience under the Project , as chis has developed chroughouc che country, has shown a sincere response co arc, a genuine demand for ic. and a wide­ spread popular interest . The !Jroblern has heen co meet this popular concern l:,yche best use of rhe available talent. A full and free expression on the part ot creative artists may have come about in a mea sure at chis time becau se of a release from the gruelling pres­ sure which mo st of them suffered during che early part of the depression. It seems co have its origin also in a special set of circumstances determined hv the Project . The new and outstanding situation is that these artists have been working with a growing sense of publi c demand for what they produce For the first time in American arc histo ry a direct and sound relarionship lu s been estahlished between the American public and the artist. Commu ­ nity organizations of all kinds have asked for his work. The artist has become aware of every type of community demand for art, J.nd has had che prospect of increasingly larger audiences, of greatly extrnded puhlic inter ­ est. There has been at least the promise of a broader and so under hase for American art with the suggestion chat the age -old cleavage between artist and publi c is not dictated _by the very nature of our society . New horizons have co me into view. American artists have discove red chat they ha ve work ro do in the world. Awareness of society's need and desire for what chey can produce has given them a new sense of co ntinuity and assurJ.nce. This awareness has served co enhance che already apparent trend coward social concenc in art 111so me instances che search for social content has takrn the form of an ilfustrJ.tive approach to certain aspect s of the co ntemporar y AmericJ.n scene - - a sw ing b:1ck co che point of view of the gc:11rc:painter s of rhe nineteenth cencurv. Evidences of soc ial satire have also appeared. In many phases of AmericJ.n expres sion this has been no m ore than a reaction against the genteel cradirion or a confession of helplessness . The domi nant trend today, as illustrated by the Pro jeer work, is more ro sitive . Thi s is a development coward greater vi.~or, unity, and clarity o statement, a search for an adequate symholism in chc expression of L-ontemporary American experience, less dependence nn rhe easily obvious in subjecr nucrer . anJ a Jefinicc rcLuion to local and region a I environmcms.· Ir is signifi cam of comemp orar y rrenJ s in Ameri can J.rt cl1J.eso man y of che ani ses working on rh e Projecr have suhmiueJ ehemsclves rn che disci ­ pline of a severe meJium (mural paiming ) . Mural paiming is noe a s(UJio J.re; by ies very nacure ic is soc ial . In ics grcJ.c period s ic hJ.s alway s heen assoc iaced with the expre ssion of social meanings, the experience , histo ry , ideas , J.nd beliefs of a community. There is no quescion chat ehe work here presented clearly indicace s an orientation in chis direccion. le is significant char a large prop ortion of ehe mural s pro JuceJ under ehe Federal Arc Proje ct during its first year are by young arti sts. Th ese artist s came co maturity at a time when mural painting, becJ.use of governmem supporc, was no longer a dream . The country w as asking for murals . The many problems involved, problems of large space. archicecrnral limications, rechnical complexities , che handling of sub1ect matter . were a challenge which the anises accepeed . A variety of seyles has developed , but the murals have in co mmon a feeling for monumental construcrion, for design concrol, for rhyrhmic balance and imer -relarion of pare s. During the first year of the Projecc 434 murJ.l s have been completed , 55 arc in progre ss, and sketches are being prepJ.red for a great many ochers . These murals are requested by puhlic institution s which defra y material coses. Ir is a most encouraging sign clue, in addition rn ehe murJ.l s alrcaJy men ­ rioned , there arc hundred s of reque sts for other s. In every scccion of chc country rherc arc waicin .~ liscs for Federal Arc ProJecr murJ.l s. le is nor coo much co say char chis work. as it Jcvclop s, give s promise of J. erul y m onu ­ meneal art which will express with honc sey, clarity, anJ power ehe expe­ rience J.nd idea s of Ameri ca n communicies . Evidence of a recov er y of soc ial co me xt is clear in chc wo rk of the easel pJ.imer s, hue ir is nJ.eural char chis should be less striking rhan ie is in chc work of the murali scs. Empl1J.sis up o n rcchniqu c for ics own sJ.kc ma y not have cmircly vanished from chc work produceJ on chc Proje ct . hue a suong tendency J.WJ.Yfrom ic ha s beco me J.pparcnt . The modcsr bur essential vir­ rnc s of honcsry J.nJ freshnes s hJ.vc de ve loped . With the Jee! ine of depenJcn ce on ouesidc inAucncc s, pre ciosie y and self -consciousness luvc ccndcJ to Jis ­ app ear. An oucstJ.nJing cl1J.racecriscic of· ehc easel pJ.iming under che Project l1J.s been rhc iniciaci vc in meeting new prohlcm s, co upled wich J.n J.dmirablc command of the several media used . The se anises hJ.ve been making their own free J.nd confident assertion s. Figure pJ.imings J.nJ seill life have inter­ estcJ them very liule . Few s(Udio suhjeccs l1J.ve appeJ.rcd . Thi s new work is often close co ehc quick , spontane ous life which is at rhc J.reisr's do or which at least , he now percei ves co be at his doo r. " ln1J.gi11J.tive reali sm" ma y be useJ to describe chc trcnJ , J. reJ.lism w hich mcJ.n s a genuine reco very of emoci on. le is fortunate clJJ.c, unJcr governmcm J.uspices , J.11opporrnnity for rhe Jevclopment of signihcJ.nt new ecndcncics has heen providcJ during these crucial rim es. The o ut co m e is full of promise for chc fucurc . CcrtJ.inl y chcrc is no dearth Of genuine calem in this co umr y --calem of a rich order Under the mo st difficult circumscJ.nccs Am erican ani ses ha ve sho w n chcmsel vcs rcaJ y co atrJ.ck new problem s J.nd to mak e fresh ad J.ptation s The y J.rc growing in stature and po we r. They l1J.ve the eechniqu e, th e discipline, and ehc impul se co cJ.rr y AmericJ.n an to new height s. The 4u cscio11 for the future is w heth er th ey ma y continue rn t11J.imain cl1J.eso und relJ.tionship w ith a wi de public w hi ch !u s hcen show n to he cssentiJ.I for a li ving arr . C AT A L O G O F T H E EX H IB I T IO N

MURAL PROJECT CHARLES ALSTON New York Mysrery and Magic ConuasteJ with Modern Science and Medicine: two {>aJ1clsill eJ1traJ1cclobby o/ Women's Wiag, Hospital, New Yori, Oil oa cam•as, 250 s,11wrc feet Full-sized Jerail, oll oa board

LUCIENNE BLOCH New York 2 The Cycle of a Woman 's Life : paael ia rccrcatioa mo ll!, Hou se o( Detenti on for W oll!rn , New York . F1°csco, I 19 s,1uarc f cet. Phorngraph of finished ranel

EDGAR BRITTON Illinois 3 Classroom Studies ancl Their Applicnion: sl.....-J1a11cls1;1 entrance hall o/ !3looll! Tow11sl11J1High School , Chi cago Heights. Frcs~o. · Detail . egg tc1JZJ1era ua board 4 Phocograrhs of completed panel.

ALFRED CRIMI New York =:; Preventive Medicine am! Sur,t;er\': J1t111clv.1 J\fedi c,if /loc1nl Coi1faei1c·c· R.._oolll,l-f, 1rle.1J1 !-fos/lllLzl, }'Jew Yori;_ Fresco, 2 5" s,111,u-c/c·et. Carcoon

WYATT DAVIS New York fi Mechanical Aspects oi"/\iq1bne Co11structio11: 11ho10-;1111r,il in / 1dm11tis11·t1tio;z !lui/di ;1g , N cH·Llr/;_. 1irJ1ort. N ew }a sey. J>Jw10-1Jwi1tage, 2u..;.s, 111a're fe et. Photograph ot"StuJr

PHILIP EVERGOOD New York 7 The Story of Richzno11J Hill : lim :e /1

S Model Show111_t; Imcrior \\'ith Mural

RALF H ENl~ICKSEN Illinoi s 9 The Elc111e1ns: _lour /'Lli1cls Iil (i or,loil S,-/1oul. !.t1/;_e{-'r, rcsl. !lli 11ois. Oil m1 ct1m·<1s. Watercolor srudv !"ortwo 11.inels CHth ancl \Varn KARL KELPE Illinois 1 o Pioneer Da )' S : two JJcwcls in Hawtlzoriie School, Oak._P t1rk._, Illin ois. Oil oa ~anvas Watercolor study: Early Setrlers 11 Watercolor study: Early F.umers .

DMITRI KESSEL New York 12 Symbols of Aviation : photo-1mll't1l)or first J/onr of __\ dmill ­ istration Bulldillg , Newark._ Airport , New Jer se)'. Photograph of study

HESTER MILLER MURRAY Illinois 13 Tlzrcc panels in ln •ing School , Oa/z Par/z. Illi 1w1s. OZ! on canvas . Tempera scudy for one panel : World of Children q Watercolor study for one panel : An ima Is.

JAMES MICHAEL NEWELL New York 15 Evolution of Western Civilization : fii •c /ht 11ds 111 mai 1t n:t1di11g mom o/ hh1-an, Ei•cwdi:r Chlld s High School, Bnmx . Fresco, 14,J" s,1u<11-,·feet . Photographs of two completed panels 16 Model showing interior wirh mural s.

ANATOL SHULKlN New Jersey 1 7 Hi sto rical and Social Funccio11 of the Court: /mll'{>t11!cls f,,r main ent1-ancc lohh • o( courthmi se, .\ ,foi-ristowa , N nu 7i:1-sev . Fresco or oil on c,1nvc1s. · · Color study , tcm/h:r,1 1 S Pencil studies .

MITCHELL SlPORlN Illinois 19 Prairie Poets · /Jl'O/Josnl fresco . Study, egg tc11ZJ1a,1 2,, Children of American Literature : /JnJ/)()s c,/ (1-csco. Study: egg tempera

JOHN WALLEY Illinois 21 Indian Drama : stage: curt<1ia for ,11tditoriu 1J1of Lulli.: Tcch- Hzcal High School , Cliicago . Color st ud)' , gow1ch c

EASEL PROJECT : OIL PAINTINGS

AARON BOHROD Illinois Landscape in Wimer , oil rm co 111/Jrisitimt ho,1nl . ALLAN ROHAN CR!TE M assaclwsects 2 School' s Out, oil oil c<1m1ll s. STUART DA VIS New York 3 Waterfront, ml rm canvas .

JOSEPH DE MAR TIN! New York 4 Moonlight, oil on canvas.

EMMET EDWARDS New York 5 Abstraction, oil on canvas.

KARL FOR TESS New York fi Wimer Vista, oil 011 ca;zvas .

LOUIS GUGLIELMI New York 7 Wedding in South Street. oil Ort canvas . S Hague Street , oil on canvas.

JACK LEVINE Massachusetts 9 Card Game, oil on composition board . 1 0 Conference, oil 011 canvas.

AUSTIN MECKLEM New York 11 Skiers , oil on ca11v<1s.

ROLAND MOUSSEAU New York 12 Sun Secs Early Now, oil on canvas.

HESTER MILLER MURRAY Illinois 13 Buffalo at Night , c:gg tem/1aa .

GREGORIO PRESTOPINO New York 14 Green Mountain Village, oil 011ccmvas.

WILLIAM SCHWARTZ Illinois 1 5 Village Square, oil on ccwvas.

CLAIRE SILBER Louisi:rna 1 fi Napoleon Docks, oil on canvas .

MANUEL TOLEGIAN New York 17 Pennsylvania Landscape, tc:111pc:rawitli oil gla ;;,c u,i gc:sso hoard.

BUMPEI USU! New York 18 Coal Barges, mi on canvas.

FREDE VIDAR New York 1 9 Pool, oil o;i canvas .

EDGAR YAEGER Michigan 2 u Still Life, oil 011 canvas. EASEL PROJECT : WATERCOLORS , GOUACHES, PASTELS RAINEY BENNETT Illinois Garden Entrance, watercolor . 2 Storm Threat, wat ercolor. CAMERON BOOTH Minnesota 3 Street in Stillwater, gouach e. RAYMOND BREI NIN Illinois 4 Lonesome Farm, gouach e. SAMUEL J. BROWN Pennsylvania 5 Mrs . Simmons, wat ercolor . 6 The Writing Lesson, w atercolor. JOSEPH DE MERS California 7 Post No Bills, water color. ORONZO GASPARO New York · 8 Promenade, gouache . ISOLDE THERESE GILBERT Massachusetts 9 Millbridge Road, watercolor . ALBERT GOLD Rhode Island 1 o Head , oil on paper. EDWARD LEWANDOWSKI Wisconsin 1 1 Lobster Markers, water color . ANN MICHALOV Illinois 12 Approaching Sco_22),,wat ercolor . , v. _,_ _ .._.-,,(,<. ' .....,,,, tJ&r' : -7 ~ !/ 9)3 7 ti'· ,;, /J.l!,-V,<,1h13 LESTER SCHWA~TZ ) Illinois 13 Circus Day, gouacl1e. WILLIAM EARL SINGER Illinois 14 Little Immigrant , watercol or . WILLIAM SOMMER Ohio 1 5 Ordering Lunch, wat ercolor . JOHN STENV ALL Illinois 1 6 Ohio River Flood , wat ercolor. RUFINO TAMA YO New Y(1rk 17 Waiting Woman, water color. JOSEPH VA V AK Illinois 18 The Dispossessed: Contemporary Hisrory , water color. KARL ZERBE Massachusetts 19 Houses on rhe River, goua che. Sculptures and Paint­ ings done for Federal Buildings .

Outstanding work from the Treasury Depart­ ment's newly establish­ ed Art Program.

On l:xhibition Through April 15 GARFll:LD PARK ART GALLl:Rll:S I 00 N. Central Park Avenue

.. ·-

Sculptures and Paint­ ings done for Federal Buildings.

Outstanding work from the Treasury Depart­ ment's newly establish­ ed Art Program.

On Exhibition Through April 15 GARFIELD PARK ART GALLERIES I 00 N. Central Park Avenue