Murals Sites

The historic Purcell Station post office 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.

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 Queens Borough Public Library features a number of murals completed through the Works Progress Administration (WPA). The murals are: A. Grant Arnold's "The Big Maple Tree" (1936), Philip Cheney's "12th and Market Sts., Phila." (1936), Louis Lozowick's "Night Repairs" (1939), Nan Lurie's "Next" (1937), Elizabeth Olds's "Pittsburgh" (date unknown), and Raphael Soyer's "Portrait of a Man (A Transient)" and "Working Girls Going Home" (both 1936). The location and status of these works is presently unknown to Living New Deal.

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,...

Daniel Celentano, once an apprentice to Thomas Hart Benton, was already a successful artist when he joined the Mural Division of the Works Progress Administration (WPA). In 1936, under the WPA, he completed his mural “Commerce” for the Queens Borough Public Library, Flushing Branch.

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...

“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 created four wood parquetry murals depicting the "History of Redlands" by theme: "Hispanics," "Orchard," "Pioneers" and "Harvesting." The murals were created in 1940 with funding from the WPA Federal Art Project. They are located in the Redlands Historical Museum.

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...

Completed by Paul Rohland in 1940, "Dogwood and Azaleas" was originally installed in the Decatur, GA post office. The above photo dates to when it resided there, before being moved to the Federal Building in Atlanta.

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...

In 1936 Philip Evergood completed a 160-foot mural entitled "The Story of Richmond Hill," with funds provided by the Works Progress Administration's (WPA) Federal Art Project. "The left and lighter side of the mural celebrates the bucolic pleasures of Queens, with citizens making merry (couples dancing in the park), The right and darker side depicts less rosy conditions in the heart of the metropolis (laborers and children). A middle section shows planners and dreamers. The mural is displayed over bookcases in the main reading room." (loc.gov)

"Beginning in 1936, Alland supervised the Photo-Mural Section of the Federal Art Project. He installed photo-murals at the Newark Public Library (1936) and at the Riker's Island Penitentiary library (1937)."   (https://dlib.nyu.edu) The Riker's Island mural, entitled "Approach to Manhattan" was designed specifically for the prison. As Alland's submission statement explained: "The subject of this photomural utilizes the familiar aspects of the normal and happy family in the City. The main purpose of this decoration, besides that of relieving the monotony and changing the aspects of a huge prison hall, into a livable library, where those prisoners who have gained the privilege through...

"Ben Shahn's WPA mural planned for the Rikers Island Penitentiary mess hall was rejected in 1935, the year the prison opened. Harold Lehman's WPA mural "Man's Daily Bread" was mounted there instead circa 1936 but was removed decades later. Thus in a sense, both the planned Shahn mural and the actual Lehman mural could be counted as two murals "missing" in Rikers Island Penitentiary WPA art history. Considerably worse for wear but not missing is a third Rikers Island Penitentiary WPA mural: Anton Refregier's "Home and the Family." Its presence enhances the historic landmark character of NYC's oldest structure in continuous correction-related use. In 1937...

The former Rincon Annex post office (now Rincon Center) has an extraordinary set of murals, 27 large panels along the upper wall of the lobby of the old post office.  They tell the "History of California" from the Spanish conquest of California to the founding of the United Nations in the city at the end of the Second World War. These murals are the work of Anton Refregier, an artist with a leftist bent and a strong streak of independence.  They are an astonishing accomplishment in terms of scale, historical vision and artistic style, which is quite unlike most mural art of...

Two WPA murals by Robert Gaston Herbert were painted for what was originally the Suffolk Home in Yaphank, NY and is now a Suffolk County office building. One mural is a painting of Richard "Bull" Smith riding what was probably a mythical bull. The story of his ride around what is today called Smithtown still persists. The legend has it that an Indian sachem would give Smith all the land he could ride around on a bull in one day. The other more historically accurate mural is of Rev. Paul Cuffe, an Indian preacher, preaching to colonists and Indians. Each...

The abandoned children's ward of the Rockland Psychiatric Center received New Deal artwork commissioned under the auspices of the WPA—mostly likely the Federal Art Project. The works were created by Victor Pedrotti Trent. According to Abandoned NYC, some of the murals are extensively damaged, while others are still in fine condition.

Lloyd Moylan completed this fresco mural, entitled "The Dissemination of Education in New Mexico," in 1938 with funds provided by Works Progress Administration's Federal Art Project. It is viewable on the main stairwell and second floor of Rodgers Hall, the administration building for New Mexico Highlands University.

"New Deal mural entitled "Landing of Swedes at The Rocks in Wilmington" painted in 1938 by Albert Pels. At the time it was painted, it hung behind the judge's bench in the US Courtroom of the Wilmington Post Office and Courthouse building. With the construction of a new US Courthouse, the mural was removed to the Rodney Square Post Office in Wilmington."

This mural, "Deep Sea Magic," by Oklahoma artist Olinka Hrdy was painted in 1939 and funded by the WPA Federal Art Project (FAP). It is composed of two panels, each measuring 6' x 19', and is currently located in the foyer of Will Rogers Middle School. "The artist’s signature and 'Federal Art Project WPA; is written in the corner.... The mural depicts an underwater scene of marine life motifs. The background is a bluegreen sea with sea creatures, plants, and fish painted in a flat style with fine lines and detailing. One door (not original) is located on each wall...

Two 5' x 20' murals "Land" and "Harvest" by Nelson Pool were painted for the Roosevelt Middle School lobby with funding from the WPA Federal Art Project.

This 5' x 25' oil on canvas mural "Education" by George Wilson Walker was funded by the WPA Federal Art Project. It is on the second floor over the entrance to the auditorium balcony.

"Packet Day at the Five Mile River" was painted by George Avison in 1937 with funding from the WPA Federal Art Project. It was restored circa 1986. The mural is located at the Rowayton Community Center and Library.

Works Progress Administration (WPA) artist Alfred Poledo Boonton created a series of 21 paintings — "Reconstructions" — for the Geology Museum of Rutgers University, ca. 1936. The present status of this work is unknown to Living New Deal.

In 1937, Frank H. Bowers and Arthur W. Prunier painted a 2,000 square foot mural at the former Ruth Home in El Monte, CA. They received funding from the Federal Art Project (FAP). The Pacific Protective Society's Ruth Home provided housing, treatment, and schooling to girls and babies infected with gonorrhea. Bowers' and Prunier's mural, which depicts a beauty salon, was located in a school and arts & crafts building on the fifteen-acre campus. It is presumed lost. Bowers and Prunier also collaborated on a pair of FAP murals at City Hall in South Gate, CA.

The two 6' x 8' panels of this mural "Discovery of America" by Irene Bianucci. They were completed with WPA Federal Art Project funds in 1940 and restored in 1997.

"The Sacramento Junior Colleges Annex and Extensions were the most costly PWA project in Sacramento. Built in 1936 and 1937 they were built to meet the needs of the growing city population and student body. Together they added an auditorium, gymnasium, library, aeronautical and engineering-technology laboratories, and many classrooms. Designed by notable Sacramento architect Harry Devine Sr. the buildings show signs of many diverse styles such as Mayan and Romanesque. These buildings are stylistically a transition bridging the gap from Devines early Romanesque designs into a more moderne style of work. The library building was demolished in the late 1990s...

"Importance of Education in Sacramento" by Ralph Stackpole was painted in 1937 with support from the WPA Federal Art Project. "San Francisco painter and sculptor Ralph Stackpole was among the artists who created on the federal dime. He spent the summer of 1937 painting a mural on plaster in the lobby of the auditorium at Sacramento Junior College on Freeport Boulevard, since renamed Sacramento City College. Stackpole's mural depicts people engaged in various forms of work, such as designing an airplane and farming." (https://www.mcclatchydc.com/2009/02/03/61368/senates-stimulus-bill-is-nothing.html#ixzz0rpxez4CQ) The mural is 30' x 10' tempera on plaster.

Julius Woeltz painted this 12' x 6' oil on canvas mural, entitled "The Bauxite Mines," in 1942 for the Treasury Section of Fine Arts. The mural was originally installed in the Benton post office and it now hangs in the Saline County Courthouse. From the Benton Courier: "The mural's early history is profiled in a publication, titled 'Postmasters: Arkansas Post Office Art in the New Deal,' by John Purifoy Gill. "In the publication, Gill notes that Arkansas' bauxite mines were a natural inspiration for Julius Woeltz, a University of Texas art professor, who received an invitation to paint the mural just five...

The former Samuel Gompers High School building in the Bronx contains a 1936 fresco by Eric Mose entitled "Power." It was presumably done under the auspices of the WPA's Federal Arts Project. The mural was located in the library on the third floor, but was painted over in the 1980s. The former Samuel Gompers High School now houses several smaller schools of the NY Public Schools