David Slivka bas relief, Berkeley, Calif. Post Office | |
Agency overview | |
---|---|
Formed | 1935 |
Dissolved | 1938 |
Parent agency | United States Department of the Treasury |
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.
The Treasury Relief Art Project was created July 21, 1935, [1] with an allocation of $530,784 from the Works Progress Administration. The project was conceived and overseen by Treasury Department arts administrator Edward Bruce. Artist Olin Dows was chief of the Treasury Relief Art Project; [2] : xxiv–xxx Cecil H. Jones, who later succeeded Dows, was assistant chief. Forbes Watson was director. [3] Unlike the concurrent Treasury Section of Painting and Sculpture, TRAP was a work-relief program, subject to the income and employment standards of the WPA. [2] : xxix The September 1935 announcement of the program estimated that it would employ 400 to 500 artists. [2] : 38
The principal mission of the Treasury Relief Art Project was to provide artistic decoration for existing Federal buildings. [4] These projects could not be performed by the Section of Painting and Sculpture, [5] : 62 which commissioned art for new construction using a percentage of the budget overseen by the Treasury Department's procurement division. [2] : xxvi–xxvii The Treasury Relief Art Project was funded by the WPA. The Section supervised the creative output of TRAP, and selected a master artist for each project. Assistants were then chosen by the artist from the rolls of the WPA Federal Art Project. [5] : 62–63
As chief of the Treasury Relief Art Project, Dows was responsible for maintaining financial records for relief and non-relief personnel. A fixed proportion of all workers was to be taken from the relief rolls—initially 90 percent, [2] : xxxii but revised to 75 percent in December 1935. [2] : 47
Although it was regarded as a success, the Treasury Relief Art Project was ended June 30, 1938. [2] : xxx
At a total cost of $833,784, [5] : 63 89 mural projects and 65 sculpture projects were completed under the Treasury Relief Art Project, as well as 10,000 easel paintings that were distributed to Federal offices. [1]
Reginald Marsh was the master artist commissioned in 1937 to create a cycle of murals in fresco for the rotunda of the Alexander Hamilton U.S. Custom House. Marsh's team of assistants included Oliver M. Baker, Xavier J. Barile, Charles Bateman, Mary Fife, Lloyd Lozes Goff, Ludwig Mactarian, John Poehler, Erica Volsung [5] : 72–73 and J. Walkley, students he knew from his teaching at the Art Students League. [6] : 6 It was TRAP's most extensive and successful project in New York, [5] : 72 encompassing 2,300 square feet. [6] : 6
Existing post office buildings that received TRAP artwork included the following:
In addition to producing artwork for Federal buildings, the Treasury Relief Art Project created murals and sculpture for Public Works Administration housing projects in Boston, Camden, Chicago, Cleveland, New York, Washington, D.C. [2] : xxx and Stamford. [18]
To maintain its high artistic standards, the Treasury Relief Art Project commissioned only a small number of artists—356 workers at its peak [2] : xxiv in 1936. Richmond Barthé, Ahron Ben-Shmuel, Paul Cadmus, Marion Greenwood, William Gropper, Reginald Marsh and Heinz Warneke were among the master artists who led projects. [1] A complete list of projects and artists employed by TRAP is included in the final report held by the Smithsonian's Archives of American Art. [2] : 185
The Federal Art Project (1935–1943) was a New Deal program to fund the visual arts in the United States. Under national director Holger Cahill, it was one of five Federal Project Number One projects sponsored by the Works Progress Administration (WPA), and the largest of the New Deal art projects. It was created not as a cultural activity, but as a relief measure to employ artists and artisans to create murals, easel paintings, sculpture, graphic art, posters, photography, theatre scenic design, and arts and crafts. The WPA Federal Art Project established more than 100 community art centers throughout the country, researched and documented American design, commissioned a significant body of public art without restriction to content or subject matter, and sustained some 10,000 artists and craft workers during the Great Depression. According to American Heritage, “Something like 400,000 easel paintings, murals, prints, posters, and renderings were produced by WPA artists during the eight years of the project’s existence, virtually free of government pressure to control subject matter, interpretation, or style.”
Daniel Rhodes was an American artist, known as a ceramic artist, muralist, sculptor, author and educator. During his 25 years (1947–1973) on the faculty at the New York State College of Ceramics at Alfred University, in Alfred, New York, he built an international reputation as a potter, sculptor and authority on studio pottery.
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. The program operated from December 8, 1933, to May 20, 1934, administered by Edward Bruce under the United States Treasury Department, with funding from the Federal Emergency Relief Administration.
Edward Bright Bruce was the administrator of the New Deal art projects of the United States Department of the Treasury: the Public Works of Art Project (1933–1934), the Section of Painting and Sculpture (1934–1943), and the Treasury Relief Art Project (1935–1938). Ned Bruce was a successful lawyer and entrepreneur before giving up his business career altogether at the age of 43 to become an artist. However, like most artists during the Depression, he found it impossible to make a living making art, and he grudgingly returned to business as a lobbyist in Washington, D.C. In 1932 he joined the Treasury Department, where his expertise in monetary policy and art guided federal efforts to employ workers in the visual arts during the Great Depression in the United States.
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.
United States post office murals are notable examples of New Deal art produced during the years 1934–1943.
Lucile Esma Lundquist Blanch was an American artist, art educator, and Guggenheim Fellow. She was noted for the murals she created for the U.S. Treasury Department's Section of Fine Arts during the Great Depression.
Zygmund Sazevich was an American sculptor.
William Davenport Griffen was an American artist and muralist.
Robert Franklin Gates (1906–1982) was an American muralist, painter, printmaker, and art professor. He was a professor at American University, between 1946 until 1975. In the 1930s, Gates was one of hundreds of artists who benefitted from the Treasury Department Section of Fine Arts's distribution of approximately 14,000 art and mural contracts.
Helen Katharine Forbes was a Californian artist and arts educator specializing in etching, murals and painting. She is best known for western landscapes, portrait paintings, and her murals with the Treasury Section of Fine Arts and Work Progress Administration (WPA). Forbes was skilled in painting in oil, watercolor, and egg tempera. She painted landscapes of Mexico, Mono Lake and the Sierras in the 1920s, desert scenes of Death Valley in the 1930s, and portraits and still-lifes.
Dorothy Wagner Puccinelli, also known as Dorothy Puccinelli Cravath, was a New Deal-era artist and muralist. She was based in San Francisco, California.
Verona Burkhard (1910–2004) was an American artist, known for her murals painted for the U.S. Treasury Department. She participated in four public projects including three United States post office murals and five murals completed for the Immigration and Naturalization Service. She has works in the permanent collections of the Smithsonian American Art Museum and the Western Colorado Center for the Arts. As of 2015, her murals completed for the post offices of Powell, Wyoming; Deer Lodge, Montana; and Kings Mountain, North Carolina are still hanging in the buildings which were the original post offices. In addition to her public artworks, Burkhard received the 1943 Alger Award from the National Association of Women Artists and was one of the first honorees of the "Colorado Women of Achievement" program in 1966.
Marjorie Rowland Clarke (1908–1997) was an American artist and sculptor who won the federal commission to complete the post office mural for Wewoka, Oklahoma, as part of the Section of Painting and Sculpture′s projects, later called the Section of Fine Arts, of the Treasury Department. In addition to her mural, the University of Maryland medical buildings exhibit her sculptures.
Grant Wright Christian was an American artist. He graduated from the John Herron Art Institute in 1933 and later attended the Philadelphia Academy of Fine Arts from which he received the Thouron Prize.
Renzo G. Fenci (1914–1999) was an Italian-American artist and arts educator, best known for his bronze sculpture. He worked in 1942 as a New Deal artist with the United States Treasury Department's Section of Painting and Sculpture.
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."