Aquarius (1938) by Samuel Cashwan for the John F. Dye Water Conditioning Plant in Lansing, Mich.
List of New Deal sculpture is a list of sculpture found in the United States and its territories, including free standing, relief and architectural sculpture that was funded by the federal government during the New Deal era.
Unless otherwise noted, sources are from Park and Markowitz[1] or American Art Annual, 1941.[2] "USPO" refers to a United States Post Office building, the term "relief" refers to relief sculpture.
Several of the sculptural elements on the building by Ricci & Zari and carved by Edward Ardolino were executed before the New Deal so don't fit into the parameters of this article. The later sculpture finished in 1934 does fall into the New Deal era
Stevan Dohanos was an American artist and illustrator of the social realism school, best known for his Saturday Evening Post covers, and responsible for several of the Don't Talk set of World War II propaganda posters. He named Grant Wood and Edward Hopper as the greatest influences on his painting.
The Treasury Section of Painting and Sculpture was a New Deal art project established on October 16, 1934, and administered by the Procurement Division of the United States Department of the Treasury.
The Powell Main Post Office in Powell, Wyoming, was built in 1937 as part of a facilities improvement program by the United States Post Office Department. The post office in Powell was nominated to the National Register of Historic Places as part of a thematic study comprising twelve Wyoming post offices built to standardized USPO plans in the early twentieth century.
Pietro Lazzari was an Italian-American artist and sculptor. He is known for his sculptures, paintings, murals, illustrations, and printmaking.
United States post office murals are notable examples of New Deal art produced during the years 1934–1943.
Lilian Louisa Swann Saarinen was an American sculptor, artist, and writer. She was the first wife of Finnish-American architect and industrial designer Eero Saarinen, with whom she sometimes collaborated.
Hedvig Erika ("Vicken") von Post Börjeson Totten was a Swedish ceramicist, sculptor, painter, and illustrator.
Auriel Bessemer was an American muralist, painter, designer, illustrator and author born in Grand Rapids, Michigan. He studied with Leon Kroll and Arthur Covey, at the Art Students League in New York City, Columbia University, and National Academy of Design.
Frederick Conway (1900–1973) was an American artist.
The Treasury Relief Art Project (TRAP) was a New Deal arts program that commissioned visual artists to provide artistic decoration for existing Federal buildings during the Great Depression in the United States. A project of the United States Department of the Treasury, TRAP was administered by the Section of Painting and Sculpture and funded by the Works Progress Administration, which provided assistants employed through the Federal Art Project. The Treasury Relief Art Project also created murals and sculpture for Public Works Administration housing projects. TRAP was established July 21, 1935, and continued through June 30, 1938.
Minna Harkavy was an American sculptor.
Marion Wetherill Walton aka Marion Walton Putnam was an American sculptor and teacher born in New Rochelle, New York.
Janet de Coux was an American sculptor born in Niles, Michigan to Bertha Wright de Coux and the Reverend Charles John de Coux. She is best remembered for her ecclesiastical reliefs and statues.
Alice Decker was an American sculptor born in St. Louis, Missouri.
Clara Fasano was an Italian born American sculptor known for her terracotta figures with religious or allegorical themes.
Allie Victoria Tennant was an American sculptor born in St. Louis, Missouri, the daughter of Thomas Richard and Allie Virginia Brown Tennant. She worked primarily out of Dallas, Texas, where her most famous work Tejas Warrior was produced for the Hall of State at the Texas Centennial Exposition.
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. This work produced between 1933 and 1942 ranges in content and form from Dorothea Lange's photographs for the Farm Security Administration to the Coit Tower murals to the library-etiquette posters from the Federal Art Project to the architecture of the Solomon Courthouse in Nashville, Tennessee. The New Deal sought to "democratize the arts" and is credited with creating a "great body of distinguished work and fostering a national aesthetic."
Lorraine Archibald “Archie” Garner was an American sculptor.
↑ American Art Annual, Geographical Dictionary Of Murals and Sculptures commissioned by Section of Fine Arts, Public Buildings Administration, Federal Works Agency. The American Federation of Arts, 1941 pp. 623–658
↑ Millier, Arthur. "Art Withstands Scrutiny of Hard-Boiled Politicians: Planetarium Obelisk, Park Fountain, Other, Massive Works Continue Under F.E.R.A." Los Angeles Times, Jun 03, 1934, pp. 2.
↑ Park, Marlene and Gerald E. Markowitz, Democratic Vistas: Post Offices and Public Art in the New Deal, Temple University Press, Philadelphia 1984 p. 203
1 2 Lech, Steve (February 13, 2020). "BACK IN THE DAY: Word of De Anza's journey led to statue". The Press Enterprise.
1 2 The WPA projects: PUBLIC ART THROUGHOUT THE SAN FERNANDO VALLEY. (1994, Nov 13). Los Angeles Times.
↑ Park, Marlene and Gerald E. Markowitz, Democratic Vistas: Post Offices and Public Art in the New Deal, Temple University Press, Philadelphia 1984 p. 211
1 2 Ruby, Christine M. Nelson, "Art for the People: Art in Michigan Sponsored by the Treasury Section of Fine Arts, 1934 to 1943", Ph. D. dissertation, University of Michigan, 1986 p. 234
↑ Hendry, L Fay, Outdoor Sculpture in Lansing, photographs by Balthazar Korab, iota Press, Okemos, Michigan, 1980 pp. 48–49
↑ Ruby, Christine M. Nelson, Art for the People: Art in Michigan Sponsored by the Treasury Section of Fine Arts, 1934 to 1943, Ph. D. dissertation, University of Michigan, 1986 p. 234
↑ Park, Marlene and Gerald E. Markowitz, Democratic Vistas: Post Offices and Public Art in the New Deal, Temple University Press, Philadelphia 1984 p. 226
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