History

New Deal Treasure: Government Searches For Long-Lost Art

“New Deal Treasure: Government Searches For Long-Lost Art”

by Brian Naylor via “NPR“

John Sloan's Fourteenth Street at Sixth Avenue hung in the office of Sen. Royal Copeland until his death in 1938. After that, the painting was lost until 2003.

“At the height of the Great Depression, President Franklin Roosevelt enacted a raft of New Deal programs aimed at giving jobs to millions of unemployed Americans; programs for construction workers and farmers — and programs for writers and artists.

“Paintings and sculpture were produced, murals were produced and literally thousands of prints,” says Virginia Mecklenburg, chief curator at the Smithsonian American Art Museum.

The GSA recovered Anne Fletcher’s Iris Garden after its then-owner watched an episode of PBS’s Antiques Roadshow and realized the painting was actually a WPA piece.

Courtesy of the U.S. GSA Fine Arts Program

In all, hundreds of thousands of works were produced by as many as 10,000 artists. But in the decades since, many of those works have gone missing — lost or stolen, they’re now scattered across the country.

A Transformative Time For American Artists

The biggest New Deal art program was the Works Progress Administration Federal Art Project. Artists could earn up to $42 a week, as long as they produced something.

Mecklenburg says it was a transformative time for the artists: “The idea for an artist to be able to work through a problem, to work through ideas, you know, that’s golden. So it was a very special moment, and one that really has not ever been repeated.”

To qualify for the work, however, you had to prove yourself as an artist and you had to show you were poor. Mecklenburg spoke to two brothers-in-law who were in the program.

She says, “One of them was saying, you know, you had to prove you were penniless — he said it hurt your dignity. And the other one was so cavalier and devil-may-care about it. He said: Oh, you know, if you thought the relief worker was coming to check out if you had an iron, or anything else that looked like it was of value, you just ran it over to the neighbor’s apartment so it looked like you didn’t have any possessions at all. It’s about as human a story as we’ve ever come up with in the art world.”

The GSA's Brian Miller holds Andrew Winter's Gulls at Monhegan (click here for a closer look). The painting will be sent to the U.S. Embassy in Croatia as part of the State Department's Art in Embassies program.

Every Recovered Painting Has A Story

Some of the art became famous — such as the murals . . . . .”

“Syria artist sets Guinness record with Damascus mural”

“Syria artist sets Guinness record with Damascus Mural”

VIA AFP

Damascus (AFP) – A Syrian artist has set a Guinness record for the world’s largest mural made of recycled materials, aiming to inspire hope and creativity in his war-ravaged country.

Guinness World Records announced on its Facebook page that Moaffak Makhoul and his team completed the mural in Damascus in January, two months shy of the third anniversary of the grim conflict in Syria.

“The largest mural from recycled material measures 720 square metres (7,749.98 square feet),” it said on its Facebook page.

Guinness said it was “created from manufactured waste by Moaffak Makhoul and a team of six Syrian artists in Al Mazzeh, Damascus.” (more…)

“Forensic Astronomer Solves Fine Arts Puzzles”

by Jennifer Drapkin and Sarah Zielinski via “Smithsonian Magazine“

“In painter Edvard Munch’s Girls on the Pier, three women lean against a railing facing a body of water in which houses are reflected. A peach-colored orb appears in the sky, but, curiously, casts no reflection in the water. Is it the Moon? The Sun? Is it imaginary? Does it matter?

To Donald Olson, an astrophysicist at Texas State University, the answer to the last question is an emphatic yes. Olson solves puzzles in literature, history and art using the tools of astronomy: charts, almanacs, painstaking calculations and computer programs that map ancient skies. He is perhaps the leading practitioner of what he calls “forensic astronomy.” But computers and math can take him only so far.

For Girls on the Pier, Olson and his research partner, Texas State physicist Russell Doescher, traveled to Asgardstrand, Norway, the resort town where Munch made the painting in the summer of 1901. By mapping the area and studying old postcards, the pair determined the exact location of the original pier (which had been torn down), the heights of the houses and the spot where Munch likely stood. They then retraced the paths of the Sun and the Moon across the sky at the time Munch was there.

They concluded that the setting Sun did not appear in that section of sky at that time, but the Moon did. As for the missing reflection, it was not an artistic choice, as some art historians had proposed, but a matter of optics: from the artist’s perspective, the row of houses blocked it. . . .”

“Walking Among the Etruscans”

by Michael Bleibtreu Neeman via “Epoch Times“

“Now disappeared, the Etruscans have left a cultural legacy, which influenced ancient Rome. The Etruscan people, composed of merchants and traders, settled on a fertile land rich in resources; they established their power not by force, but through social and economic means.

In a new exhibition, the Musée Maillol (Maillol Museum) in Paris presents the daily life of the Etruscans, unveiling a cosmopolitan and culturally rich civilization in which women played a role as important as men’s, which is an exception among ancient civilizations.

Because its origins remained an enigma, and has only been known for its funerary culture, the richness of the Etruscan culture was long ignored. However, archaeological excavations of the last few decades reveal new surprising aspects of this mysterious people coming from the Middle East.

The Maillol Museum traces the history of the Etruscans from their settlement in the Italian Peninsula in the ninth century B.C. with 250 objects coming from European museums and institutions, in particular from those in Italy. . . . .”

When the Rights of Artists Meet the Rights of Ecologists

“Tone Deaf? Musician claims feds destroyed rare flutes at airport”

by Judson Berger via “Fox News“

“Everyone’s a critic.

A Canadian musician claims that U.S. Customs officials seized and destroyed 11 rare flutes as he passed through New York’s John F. Kennedy International Airport last week. The reason? Concerns they were an ecological threat.

The charge from Boujemaa Razgui, who is based in the U.S., has drawn widespread attention — in the U.S., in Canada, and particularly in the music community. . . . “

The government disputes the claims, arguing that they merely destroyed random bamboo stalks, but that isn’t really the point. The real questioned the situation begs is when the Artist’s right goes too far. Personally, I think that if the story proves true, the government officials were out of line. However, what’s your opinion? Given how far artist’s rights have been allowed to extend in the past, where should the line be drawn? Art denigrating religious beliefs has been permitted. Racist and fairly Vulgar works have been permitted. Is a minor potential threat to ecology more heinous? What’s your opinion?