Arts Programs Sites

The oil-on-canvas murals "Waterfront" and "Coal Barges" were painted by Richard Zoellner. Installed in the historic Portsmouth, Ohio post office, they were commissioned by the Treasury Section of Fine Arts.

The Power of Water Fountain, designed by Henry Lion, Jason Herron & Sherry Peticolas c. 1935 is one of hundreds of public sculptures created during the federally-assisted Public Works of Art Project. A cast central figure of a woman symbolizes the power of water, the flowing lines of her hair and garments evoking water; a bas-relief panel on the face of the lower basin depicts the eternal struggle to obtain the precious resource. The fountain/sculpture is owned by the Los Angeles Cultural Affairs Department.  

Stefan Hirsch painted this oil on canvas mural, entitled "Scenic and Historic Booneville," in 1943, in what was then the Booneville post office, with funds provided by the Treasury Section of Fine Arts. The mural is viewable in the lobby.

"The Grand March" petrachrome mural was created in 1940 with funding from the WPA Federal Art Project.   The artist is unknown to the Living New Deal.  

Mitchell Jamieson painted this mural "Tobacco Cutters" in 1938 for the Treasury Section of Fine Arts in what was previously the post office.

The mural "Reforestation" was commissioned by the Section of Fine Arts under the Treasury Department and installed in what was the Haleyville AL post office in 1940. It was painted in an unusual medium--egg tempera on gesso. The city took over the building in 1970 when a new PO was built. The mural was painted over several times. The building eventually became the Haleyville Public Library, but the mural remains covered.  An art restorer has confirmed that it is extant, but there funds are not available for restoration.

Rockport, Massachusetts's public library houses a Federal Art Project (FAP) mural titled "Rockport Goes to War". The mural was painted by Samuel F. Hershey. The mural hands in a corridor on the second floor.

“In the Cleveland region, the Cleveland Public Library was the largest recipient of art that was funded by Federal programs in the Depression era. The leadership of Linda Eastman, Library Director from 1918 to 1938, was crucial. She believed in the importance of the arts in supporting learning and she was encouraged by the enthusiasm of her brother, painter William Joseph Eastman. Three major murals were painted for the Main Library Building; six murals were painted for branch libraries; children’s sections were decorated with ceramics and dolls (pg 33) that served as aids during story-telling; numerous easel paintings portrayed historical and...

“In the Cleveland region, the Cleveland Public Library was the largest recipient of art that was funded by Federal programs in the Depression era. The leadership of Linda Eastman, Library Director from 1918 to 1938, was crucial. She believed in the importance of the arts in supporting learning and she was encouraged by the enthusiasm of her brother, painter William Joseph Eastman. Three major murals were painted for the Main Library Building; six murals were painted for branch libraries; children’s sections were decorated with ceramics and dolls (pg 33) that served as aids during story-telling; numerous easel paintings portrayed historical and...

“In the Cleveland region, the Cleveland Public Library was the largest recipient of art that was funded by Federal programs in the Depression era. The leadership of Linda Eastman, Library Director from 1918 to 1938, was crucial. She believed in the importance of the arts in supporting learning and she was encouraged by the enthusiasm of her brother, painter William Joseph Eastman. Three major murals were painted for the Main Library Building; six murals were painted for branch libraries; children’s sections were decorated with ceramics and dolls (pg 33) that served as aids during story-telling; numerous easel paintings portrayed historical and...

“In the Cleveland region, the Cleveland Public Library was the largest recipient of art that was funded by Federal programs in the Depression era. The leadership of Linda Eastman, Library Director from 1918 to 1938, was crucial. She believed in the importance of the arts in supporting learning and she was encouraged by the enthusiasm of her brother, painter William Joseph Eastman. Three major murals were painted for the Main Library Building; six murals were painted for branch libraries; children’s sections were decorated with ceramics and dolls (pg 33) that served as aids during story-telling; numerous easel paintings portrayed historical and...

The library contains four murals by Jerry Bywaters completed under the Public Works of Art Project (PWAP) in in 1934: "Rebuilding Paris," "The 1916 Paris Fire--3rd Worst in American History," "John Chisum," and "Davy Crockett.  

Two beautiful bas-relief wood carvings by Remo Scardigli hang in the Monterey Public Library.  The were originally in the old library, then moved to the new one when the old building was replaced. The 2.5' x 8' oak wood carving, "Monterey Fisherman" and the 33 x 23 inch wood relief "Artichoke Pickers" both hang on the main floor near the main desk. The exact date of the carvings is not known to us.

This 16' x 6' oil on canvas entitled "The Old Tavern" was painted by Nicolai Cikovsky in 1937 for the former Silver Spring Post Office, under the auspices of the Treasury Section of Fine Arts. When the old post office closed down in 1981, the mural was moved to the Silver Spring Public Library – which itself relocated in recent years to Wayne Avenue.

In 1937, Stanton Macdonald-Wright (assisted by Albert King) completed a tile mosaic wall panel for a drinking fountain at the old Santa Monica Public Library in Santa Monica, CA. He received funding from the Federal Art Project (FAP). The mosaic panel was presumably lost during the demolition of the old library (located at 503 Santa Monica Boulevard) in 1974. However, Macdonald-Wright painted a mural, “Invention and Imagination" (1935), in the library's reading room that has subsequently been reinstalled at the new Santa Monica Public Library, one block away. Macdonald-Wright was supervisor for the Southern California division of the FAP from 1935 to 1943....

Public School 11, formerly Public School 91, and also known as the Highbridge School, is a Romanesque Revival building built in 1889. In 1937-39, a two-panel oil on canvas mural by Francis Costa was added over the stage. Painted under the auspices of the WPA's Federal Art Project, the murals depict The Old Bronx & The Bronx Today.

Walter Inglis Anderson and his brother, James McConnell Anderson were commissioned in 1935 to create murals for the 1927 Ocean Springs Public High School as part of the Public Works of Art Project. “Ocean Springs: Past and Present” was a six-panel oil on canvas. “The Fish and Bird Mural” was a tile mural constructed in four sections. Both are in the Walter Anderson Museum of Art since 1991. Anderson’s murals were painted on canvas sheets and then glued to the wall of the school auditorium, flanking the stage. Two were 14 feet long horizontal panels and placed on the wall between...

The former Purcell Station post office building in Plymouth, Michigan houses an example of New Deal artwork: "Plymouth Trail," by Carlos Lopez. The work was commissioned by the Treasury Section of Fine Arts and remains in the historic building's lobby despite the post office's sale and relocation.

The historic Quay County Courthouse in Tucumcari, New Mexico houses an example of New Deal artwork: "I, Francisco Vasquez de Coronado, Have Passed This Way and Left my Mark," a 9' x 15' mural created by Ben Carlton Mead. The work was likely commissioned by the Federal Art Project, though further confirmation of the commissioning agency is requested.  

The Astoria branch of the Queens Borough Public Library received a series of murals as well as accompanying sculptures under the Works Progress Administration (WPA)'s Federal Art Project. "here was no controversy about the playful mural commissioned in 1938 for the children's reading room of the Queens Borough Astoria branch, which celebrated the centennial of its building last year. Painted by Max Spivak (1906-81), an artist little known today, the mural, depicting whimsical circus and opera puppets, was originally done in five parts. But three have been lost, as have all of the original polychromed figures, by the sculptor Eugenie Gershoy,...

The Works Progress Administration (WPA) funded a mural painted by Edward Buk Ulreich in the Children's Reading Room at Woodside Branch of the Queens Public Library.  

The Raleigh Art Center, an initiative of the Federal Art Project, was a Works Progress Administration initiative to promote a culture of art in North Carolina and is the direct predecessor of what is today the North Carolina Museum of Art. It was first and foremost a specific space at 413 Fayetteville Street, Raleigh’s main street, sandwiched between a hotel and a Chinese laundromat in a formerly vacant store, opposite the Hotel Sir Walter Raleigh, the most prestigious social space in town. Sponsored jointly by the City of Raleigh, North Carolina Art Society, Chamber of Commerce, State Historical Commission, and...

The Raton Museum houses a substantial collection of W.P.A.-sponsored artwork by way of the Federal Art Project (F.A.P.), in addition to a mural that had been created for the former post office in Raton. Photos of the F.A.P. works are not permitted.

Mildred Waltrip painted the two-panel, oil-on-canvas mural "Robin Hood" (each panel measuring 5'3" x 6'11") in 1940 for the Works Progress Administration's Federal Art Project. "Two murals commissioned by the WPA, placed above the twin wooden benches of a niche or inglenook, bracket the entryway into the main building of the hundred-year-old Tudor-style school building. They illustrate episodes from the life of Robin Hood, the legendary English outlaw and popular hero who was said to have been born about 1160. Interwoven among the medieval figures in the first mural are descriptive captions: 'Merry Men of Robin Hood; Richard ye Lion-Hearted, King...

“Although the ROD Building was a municipal building, the District of Columbia's peculiar sovereignty status required that the federal government approve its construction, and that the Treasury Department Section of Fine Art play a major role in its art program… The Treasury Sections December 1, 1942 announcement of the ROD Building mural competition was a term paper-like, ten page document that required artists to submit their entries unsigned for anonymous judging… A press release announced that the winners wide geographic dispersion and almost equal female-male ratio, as well as the inclusion of accomplished African-American painter William Edouard Scott, proved the fairness of...

“Although the ROD Building was a municipal building, the District of Columbia's peculiar sovereignty status required that the federal government approve its construction, and that the Treasury Department Section of Fine Art play a major role in its art program… The Treasury Sections December 1, 1942 announcement of the ROD Building mural competition was a term paper-like, ten page document that required artists to submit their entries unsigned for anonymous judging… A press release announced that the winners wide geographic dispersion and almost equal female-male ratio, as well as the inclusion of accomplished African-American painter William Edouard Scott, proved the fairness of...

“Although the ROD Building was a municipal building, the District of Columbia's peculiar sovereignty status required that the federal government approve its construction, and that the Treasury Department Section of Fine Art play a major role in its art program… The Treasury Sections December 1, 1942 announcement of the ROD Building mural competition was a term paper-like, ten page document that required artists to submit their entries unsigned for anonymous judging… A press release announced that the winners wide geographic dispersion and almost equal female-male ratio, as well as the inclusion of accomplished African-American painter William Edouard Scott, proved the fairness of...

“Although the ROD Building was a municipal building, the District of Columbia's peculiar sovereignty status required that the federal government approve its construction, and that the Treasury Department Section of Fine Art play a major role in its art program… The Treasury Sections December 1, 1942 announcement of the ROD Building mural competition was a term paper-like, ten page document that required artists to submit their entries unsigned for anonymous judging A press release announced that the winners wide geographic dispersion and almost equal female-male ratio, as well as the inclusion of accomplished African-American painter William Edouard Scott, proved the fairness...

In 1936, three WPA artists—Henry Wadsworth Moore, Velma Buckner, and Alan Flavelle—painted portraits of 11 former Washington, DC Recorders of Deeds, for placement in the Recorders’ office space at 412 D Street NW.  When the new Recorder of Deeds Building was constructed in 1941-1943, at 515 D Street NW (and funded by the New Deal’s Public Works Administration), the portraits were moved there. The current location(s) of these portraits is unknown to the Living New Deal, but they could still be in the 515 D Street NW building (the building has been closed to the public for many years, after the...

“Although the ROD Building was a municipal building, the District of Columbia's peculiar sovereignty status required that the federal government approve its construction, and that the Treasury Department Section of Fine Art play a major role in its art program… The Treasury Sections December 1, 1942 announcement of the ROD Building mural competition was a term paper-like, ten page document that required artists to submit their entries unsigned for anonymous judging… A press release announced that the winners wide geographic dispersion and almost equal female-male ratio, as well as the inclusion of accomplished African-American painter William Edouard Scott, proved the fairness of...

“Although the ROD Building was a municipal building, the District of Columbia's peculiar sovereignty status required that the federal government approve its construction, and that the Treasury Department Section of Fine Art play a major role in its art program… The Treasury Sections December 1, 1942 announcement of the ROD Building mural competition was a term paper-like, ten page document that required artists to submit their entries unsigned for anonymous judging… A press release announced that the winners wide geographic dispersion and almost equal female-male ratio, as well as the inclusion of accomplished African-American painter William Edouard Scott, proved the fairness of...

“Although the ROD Building was a municipal building, the District of Columbia's peculiar sovereignty status required that the federal government approve its construction, and that the Treasury Department Section of Fine Art play a major role in its art program… The Treasury Sections December 1, 1942 announcement of the ROD Building mural competition was a term paper-like, ten page document that required artists to submit their entries unsigned for anonymous judging… A press release announced that the winners wide geographic dispersion and almost equal female-male ratio, as well as the inclusion of accomplished African-American painter William Edouard Scott, proved the fairness of...

Arnold Brasz designed four wood parquetry lunettes for the Redlands City Hall in 1940, under the sponsorship of the Federal Art Project (FAP) of the WPA. The overall theme is "History of Redlands;" individual panels feature "Hispanics," "Orchard," "Pioneers," and "Harvesting."  The building is now the Redlands Historical Museum. The lunettes were probably executed by craftspeople other than Brasz, but their names are not known.

In 1937, the Works Progress Administration's Federal Art Project, in cooperation with the history and landmarks division of the Women's Community Service Auxiliary of the Los Angeles Chamber of Commerce and the Los Angeles Country Department of Recreation Camps and Playgrounds, made possible a monument to Hugo and Victoria Reid and their two children, by sculptor Preston L. Prescott. The monument was originally located at the Arcadia Community Regional Park, but in 2003 was transferred to the Gilb Museum of Arcadia Heritage. The Reid family was chosen as subjects for the monument, due to Hugo's importance as an early California...

This 1938 Section of Fine Arts mural"Miners at Work" by Jacob Elshin was originally installed in the Renton post office. Elshin "actually visited underground mines and sketched miners at work for his mural in Renton, Washington, that depicted this historic aspect of the city." (tfaoi.com)

The city of Fall River was originally home to the Wampanoag Native American tribe, but this group was displaced relatively rapidly in the 1600s with the establishment of colonies in modern day Massachusetts, Rhode Island, and Connecticut. The city of Fall River grew during the colonial era, but reached its heyday in the 1800s with the expansion of the textile industry. The fast moving Quequechan River provided an excellent source of water power that helped the city to become known as the "Queen City of the Cotton Industry" in the United States. This rich history was the inspiration for the...

This oil-on-canvas mural "General Sully at Yellowstone" was painted by J. K. Ralston in 1942 in what was then the Sidney Post Office. It was funded by the Treasury Section of Fine Arts. The building is now used by the Richland County Extension Office and is known as the the Donald G. Nutter Building. The post office moved to a new building in 1987.

The historic former New Deal post office and federal building—now the Richmond County Administration Building—in Rockingham, North Carolina received an example of New Deal artwork upon its completion. Commissioned by the Treasury Section of Fine Arts, Edward Laning painted this triptych, "The Post as Connecting Thread in Human Life," in 1937. The work can be found n the lobby near the building's entrance.

The Richmond County courts are home to two set of murals, one by Axel Horn, a New York-based artist, and another by Charles Davis, an African American artist based in Chicago.  The murals were painted in 1937-38 under the auspices of the Federal Arts Project. There are five murals by Horn, painted with egg tempera on gessoed masonite, 114" x 60" each.  The overall title is Economic Pursuits of the Early American Settlers. The murals have have been moved several times.  They were originally installed in a large workshop  for the benefit of the indigent residents at the Farm Colony,  which was across the road from...

The Richmond County courts are home to two set of murals, one by Axel Horn, a New York-based artist, and another by Charles Davis, an African American artist based in Chicago.  The murals were painted in 1937-38 under the auspices of the Federal Arts Project. There are six murals by Davis, in egg tempura on Masonite panels. Davis titled his murals The Progress of American Industry, with the following themes: Railroad Builders Lumbering Agriculture Mining Steel Workers Bridge Builders The murals have have been moved several times.  They were originally installed in a large workshop  for the benefit of the indigent residents at the Farm Colony,  which...