Eat at Jo’s

Jo’s Café. A popular addition to Monterey County’s New Deal Courthouse building

Jo’s Café
A popular addition to Monterey County’s New Deal Courthouse building
Photo Credit: Susan Ives

In the 1930s, the WPA constructed civic buildings that still hold a significant place in history. More than 80 years later, many are still in use, but many have fallen into disrepair or are out of compliance with today’s building codes. So it is especially gratifying when a New Deal building is restored and retained as a public asset rather than destroyed or sold to private developers. The Monterey County Courthouse in Salinas, California, is one to celebrate.

Architect Robert Stanton (1900–1983) designed the unique, 3-story International Moderne-style building, which was dedicated upon its completion in 1937. He turned to artist Joseph Jacinto (Jo) Mora (1876–1947), to add decorative elements to the building’s exterior and interior courtyard. With funding from the Federal Art Project, Mora’s bas-relief panels, column caps, and figurative heads of archetypical and historical figures around the building remain a source of civic pride. The courthouse was added to the National Register of Historic Places in 2009.

Monterey County Courthouse building, Salinas, California

Monterey County Courthouse building, Salinas, California
Funded by the WPA and a local bond, the courthouse opened 1937.
Photo Credit: Susan Ives

Visionary and artful, architect Stanton incorporated earthquake-resistant features in the courthouse. To keep the wheels of justice turning, Stanton’s plans called for the WPA courthouse to be built around its outgrown predecessor, which continued to operate while the new courthouse was under construction.

The need for additional courtrooms prompted the construction of an adjacent court building in 2010 and the WPA courthouse was vacated. That’s when the asbestos and lead paint were discovered there.

Fortunately, the County chose to update, rather than abandon its historic courthouse. The Board of Supervisors saw fit to allocate the funds needed for the complex renovation. The remediated building opened in 2018. It houses the offices of the District Attorney, Civil Grand Jury, and the County Law Library, with more new offices planned. A snack shop–Jo’s Café—named in honor Jo Mora, is a welcome addition.

More Mora
Dozens of sculptures and bas reliefs embellish the former courthouse
Photo Credit: Susan Ives

Opening Day Poster. Monterey County Courthouse dedication.

Opening Day
Monterey County Courthouse dedication
Photo Credit: Susan Ives

The café displays copies of some of Mora’s artworks. Two large murals, “Serving the Feast” and “Welcome to The Fable” are reproduced in the hallway. Lobby displays illuminate the building’s history and Mora’s contributions.

In June, the Living New Deal and Jo Mora Trust will co-sponsor an exhibit, “Jo Mora: From the Old West to the New Deal,” at San Francisco’s Canessa Gallery. Presentations about Mora’s life and work will take place on opening night, June 7, and closing night, June 27. Sales of the artworks will benefit the two nonprofits.

Peter Hiller is the collection curator for Jo Mora Trust.

Raising the New Deal Flag in New York City

Raising the New Deal Flag in New York City

Raising the New Deal Flag in New York City
Fiorello La Guardia at the formal raising of the NRA flag outside the New York headquarters of the National Recovery Administration, April 1934.
Photo Credit: Encyclopedia Brittanica

Two hundred New Yorkers gathered at the Center for Architecture on May 7 to kick off a Living New Deal initiative to familiarize New Yorkers with the New Deal’s vast imprint on their city.

The reception and panel discussion, “A New Deal for New York City: Looking Back, Looking Forward,” were co-sponsored by the Museum of the City of New York, the American Institute of Architects New York Chapter, Planners Network, Historic Districts Council, National Jobs for All Network, City Lore, FDR Library, Gotham Center for New York City History, and Roosevelt House Public Policy Institute at Hunter College.

Welcoming the audience, Phoebe Roosevelt, great-granddaughter of Franklin and Eleanor, expressed gratitude for the remarkable men and women—including her grandparents—who championed the “great experiment we call the New Deal.” She also praised the citizens who “went to the voting booth to give FDR and Congress the mandate for action.”

Keynote speaker Kevin Baker, whose April cover story in Harper’s,“We Can Do It Again,” masterfully reviewed New Deal 1.0 in light of calls for a Green New Deal, commented, “What is most surprising about the city today is not how well it’s doing but how little of its old social dysfunction it has managed to shed,” but which the Roosevelt administration sought to address eighty years ago.

A panel of four, including writer Nick Taylor; Living New Deal’s founder Gray Brechin; Marta Gutman, professor of architectural and urban history at City College of New York; and New York City Deputy Mayor Phillip Thompson, elaborated on Baker’s remarks.

Speaking for the city, Thompson fully endorsed the idea of a policy agenda modeled on the New Deal that would, once again, tackle the city’s social problems while rectifying past injustices via a “Greener” New Deal.

All agreed that the first step toward that goal is making people aware of the enormous legacy the New Deal left to them by commemorating through signage, tours, and educational events, its ubiquitous presence throughout New York City.

The audience was also treated to a short film, “A Better New York City,” produced by the Works Progress Administration (WPA) in 1937. See it here.

Margaret W. Crane ("Peg") is the Living New Deal program associate for New York City. A freelance writer, her work has appeared in the Los Angeles Times, The Scientist, and numerous health and education websites.

Clabe Wilson and the WPA

Leora and Clabe Wilson, Dexter, Iowa, July 22, 1934.

Leora and Clabe Wilson
Dexter, Iowa, July 22, 1934.
Photo courtesy: Joy Neal Kidney

My grandfather, Clabe Wilson, was an Iowa farmer. During the slump in farm prices after WWI, he lost his farm. Clabe, my grandmother Leora, and their seven kids ended up in the small town of Dexter. He hired out to work on farms, but as the Great Depression deepened, farmers couldn’t afford to pay for help.

In the summer of 1930, his daughter, Doris, was nearly 12. She spent her free time in the upstairs bedroom she shared with a younger sister, where she read and read in a wooden rocking chair, leaning against the open window to get a breeze that sultry summer. That was the year Dexter’s first public library–with 100 donated books–opened in Allen Percy’s law office.

By the next summer, Clabe got a job in Redfield at the brick and tile plant. But he had lost blood during an operation and was weak for months so couldn’t work much.

Main Street, Dexter, Iowa

Main Street, Dexter, Iowa
The top of the two-story building was removed and the materials reused to create a town library on the first floor
Photo Credit: Courtesy Joy Neal Kidney

In 1933, because so many Americans were out of work, President Roosevelt’s New Deal was set up. Funds were granted to the states to operate relief programs to create new unskilled jobs. Such jobs were make-work programs to hire jobless men during the Great Depression. Yes, it was more expensive than to hand over welfare payments (called the “dole”), but men were embarrassed and ashamed by taking unearned money. They would rather earn it by working.

Clabe hated having to apply for a government relief job. At first he was turned down because he had two sons in the Navy. The two older boys had joined up because there was nothing for them to do in Iowa. They sent home $5 or $10 a month from their meager wages. Their mother said the money was a real godsend, that the coal they bought with it one winter kept them from freezing.

Dallas County News, Adel, Iowa, May 10, 1939

Dallas County News
Adel, Iowa, May 10, 1939
Photo Credit: Courtesty Joy Neal Kidney

Clabe was finally hired by the Emergency Relief Administration (ERA), doing roadwork. Later he worked sixteen hours a week for the WPA keeping the Dexter town pump oiled.

After 1934 the library was moved from Mr. Percy’s office to a room at the town hall. That fall Clabe and his daughter Doris spent late hours working on corn at the Dexter Canning Factory.

Doris graduated Dexter High School in 1936–the same year the library became tax supported and reorganized under Iowa library laws.

Dexter Town Library, Constructed by the WPA

Dexter Town Library
Constructed by the WPA
Photo Credit: Courtesy Joy Neal Kidney

In 1939 a WPA project was approved to remove the second story of the building that had once housed the Chapler-Osborn Clinic. The men–including Clabe Wilson–were hired to reuse materials from the second story for a Library Hall, which included a library, and also a community room with a kitchen and dining area.  

Seven years later, Doris married my father, a Dallas County farmer who had volunteered for the Army Air Corps in WWII. In the early 1950s, they bought a farm south of Dexter. Their daughters regularly used the Dexter library. When I was in high school and needed more about the Bronte family for a term paper, a Dexter librarian introduced me to the wonder of ordering free books through the Iowa State Traveling Library.

Today, a bench commemorating the WW II service of Clabe Wilsons’ five sons sits right outside the same brick building their father worked on decades ago.

Commemorative WPA Plaque, Dexter Library

Commemorative WPA Plaque
Dexter Library
Photo Credit: Courtesy Joy Neal Kidney

Bench outside the town library. In memory of the five Wilson brothers, who served in WWII.

Bench outside the town library
In memory of the five Wilson brothers, who served in WWII.
Photo Credit: Courtesy Joy Neal Kidney

Joy Neal Kidney is the keeper of family letters, pictures, combat records, telegrams, research, and casualty reports. Born to an Iowa farmer who became a pilot and flight instructor during WWII, and an Iowa waitress who lost three of her five brothers during that war, she spent her childhood in a farmhouse with a front porch on Old Creamery Road south of Dexter, Iowa. A graduate of the University of Northern Iowa, she has published two genealogies as well as dozens of essays. She lives with her husband, a Vietnam veteran, in a house with a front porch in the suburbs of Des Moines. Her stories can be found at

Women and the Art of Treasure Island

“I am quite open and unashamed in my liking for expositions—“
President Franklin D. Roosevelt, opening broadcast for the Golden Gate International Exposition on Treasure Island, February 18, 1939

Postcard, Treasure Island, 1939, Golden Gate International Exposition at Night

Postcard, Treasure Island, 1939
Golden Gate International Exposition at Night

Thanks to FDR, at least six of the American expositions of the 1930s received generous federal funding. The Golden Gate International Exposition (GGIE), 1939-1940, was originally to be a celebration of the recently completed Golden Gate and San Francisco-Oakland Bay Bridges. As plans progressed, the idea grew to encompass the countries and cultures of the Pacific—with San Francisco as the gateway.

The WPA and PWA paid to build the site in San Francisco Bay that became Treasure Island, as well as its three permanent Art Moderne airport buildings. The island was publicized as the site for a world’s fair (temporary) and an airport (permanent). But GGIE president Leland Cutler wrote that President Roosevelt “was intensely interested in both airport and a national defense site on San Francisco Bay.” In spite of public outcry, it was really no surprise when the Navy seized Treasure Island in 1942 for the war effort.

Treasure Island Map. The map appeared in the guidebook to the fair 1939

Treasure Island Map
The map of the fairgrounds was the work of a woman artist, Ruth Taylor White.
Photo Credit: Wikicommons

Thankfully, the WPA funded art as well as artillery, and the federal government funded many art programs, particularly in the Federal Building and in the Palace of Fine and Decorative Arts. The GGIE was also progressive in its employment of women artists. Of the thirteen local artists commissioned to convey the fair’s theme in the “Court of Pacifica,” more than half were women: Adaline Kent, Helen Phillips, Ruth Cravath, and Cecilia Graham each created three of the twenty “Pacific Unity” sculptures, and the Bruton sisters—Helen, Esther and Margaret—created the huge “Peacemakers” relief mural.

Lulu Hawkins Braghetta designed the GGIE’s giant relief “Path of Darkness” in the Temple Compound, and Helen Forbes and Dorothy Puccinelli painted the four “First Garden” murals in the South Towers. Six sculptures can be seen today at the entrance to the Treasure Island Museum in Building One, including two of Helen Phillips’s “Pacific Unity” sculptures.

Art in Action

Art in Action
Golden Gate International Exposition, 1940
Photo Credit: Herbert "Bud" Stewart, collection of Treasure Island Museum

As vice-chair of the Art Committee in 1940, architect Timothy Pflueger was in charge of all of the activities and exhibits that filled the massive Hall of Fine and Decorative Arts. His big success in 1940 was “Art in Action,” a “theater of the arts” where visitors could observe and interact with artists at work. With Helen Bruton as manager, the program included at least 50 local artists—painters, lithographers, sculptors, and weavers among them.

Most celebrated among these artists was Diego Rivera, who arrived from Mexico to paint his third and largest San Francisco fresco, “Pan American Unity.” Riviera’s colorful 22 x 75-foot mural required an army of assistants, including painters, plasterers, pigment grinders, and a cook. Largely overlooked are Rivera’s painting assistants, several of whom were women. Ely de Vescovi, Thelma Johnson Streat, and Mine Okubo were artists in their own right. Rivera’s chief assistant was Emmy Lou Packard, who met Rivera on a family trip to Mexico and developed a lifelong association with him.

Court of Pacifica

Court of Pacifica
Many sculptures here were created by the GGIE’s women artists

World War II interrupted plans to install “Pan American Unity” at a new library planned for City College. The mural spent decades in storage. It was finally installed at the college’s Little Theater, a space much too small for it. A new performing arts center planned for the campus will provide a more suitable venue. In the meantime, the mural will move to the San Francisco Museum of Modern Art for a retrospective in 2020.

Treasure Island no longer belongs to the Navy. The city is developing it into “San Francisco’s Newest Neighborhood.”

View a 1939 newsreel about the “Pageant of the Pacific”.

The Golden Gate International Exposition celebrates its 80th anniversary in February of 2019. Please visit for information about upcoming events.

The Peacemakers, Court of Pacifica

The Peacemakers, Court of Pacifica
GGIE relief mural by sisters Helen, Margaret, and Esther Bruton, is 144 feet long by 57 feet in height.
Photo courtesy: Treasure Island Museum

“Flutist,” by Helen Phillips

“Flutist,” by Helen Phillips
One of six restored GGIE statues that have been relocated to Building One on Treasure Island.
Photo Credit: Courtesy Art and Architecture SF

Lulu Hawkins Braghetta at work at the Court of Pacifica

Lulu Hawkins Braghetta at work on her Cambodian-inspired bas-relief, "Path of Darkness.”
GGIE, Court of Pacifica
Photo Credit: Treasure Island Museum

Artist Diego Rivera and Assistant Emmy Lou Packard

Artist Diego Rivera and Assistant Emmy Lou Packard
Golden Gate International Exposition, 1940
Photo courtesy: Diego Rivera Mural Project

“Pan American Unity”

“Pan American Unity”
Riviera’s masterpiece was completed in 1940. For a close up view and a key:
Photo Credit:
Photo courtesy: Diego Riviera Mural Project

US Postage stamp Commemorating the GGIE

US Postage stamp
Commemorating the GGIE
Photo Credit: Wikicommons

Anne Schnoebelen serves on the board of the museum and is a historian of the GGIE and its role in San Francisco art history. She manages the Treasure Island Museum’s “Little Island, Big Ideas” monthly lecture series and lectures about the GGIE throughout the state, as well as giving tours at Coit Tower for SF City Guides. [email protected] Blog:

WPA Model of San Francisco Restored at Last

Author Gray Brechin restoring the model, 2018

Author Gray Brechin restoring the model, 2018
In 2010, Gray discovered the then 70-year-old WPA model of San Francisco was in storage at a UC warehouse and began advocating for its public display.
Photo Credit: Susan Ives

As I was scanning photos of New Deal public works at the National Archives in College Park, Maryland, I was startled to run across one that showed the dedication in 1940 of an enormous wooden model of San Francisco. WPA workers spent three years building the 37 X 41 square-foot, 3-D replica of the city for planning and educational purposes.

The New Deal wrought huge changes to the Bay Area—the Bay Bridge, Treasure Island, the airports, the East Shore Highway, and Caldecott Tunnel, (not to mention the locally financed Golden Gate Bridge). Planners understood that bigger changes were on the way to which the city’s hilly topography and constricted site presented unusual challenges. A model would also give scores of people jobs.

WPA Workers Putting together the scale model, 1938

WPA Workers
Putting together the scale model, 1938
Photo Credit: Courtesy the San Francisco Planning Department Archive at the San Francisco History Center, San Francisco Public Library

Jointly sponsored by the federal government and the City of San Francisco, the model could be used for planning a subway down Market Street (later BART and MUNI lines) as well as freeways to connect the bridges and the city with the Peninsula (later blocked by the Freeway Revolt.) It was only briefly on display in a lightwell of City Hall before wartime activities evicted it, eventually finding its way to a warehouse at the University of California, Berkeley, where it remained, in 16 large wooden crates, until last summer.

Dedication of WPA model at City Hall

Dedication of WPA model at City Hall
The WPA formally presented the map to the city on April 16, 1940
Photo Credit: Courtesy National Archives and Records Administration. (Public Domain)

Deena Chalabi, the Curator of Public Dialogue at San Francisco’s Museum of Modern Art, introduced me to the Dutch conceptual artists Liesbeth Bik and Jos van der Pol (collectively Bik Van Der Pol) who were intrigued by the possibility of returning the model to the public and using it for stimulating dialogue about the city’s past, present, and future. With the invaluable assistance of Stella Lochman, the museum’s Senior Program Associate of Public Dialogue, the model was transferred from the East Bay to a San Francisco Public Library facility with enough space to uncrate it. Over the summer, volunteers meticulously cleaned decades of dust from its dozens of component sections, marveling at the detail, technical ingenuity, and subtle coloration that emerged.

Restoring the WPA model

Restoring the WPA model
Volunteers carefully cataloged and cleaned the model, neighborhood by neighborhood.
Photo Credit: Gray Brechin

Thanks to Bik Van Der Pol, SFMOMA, and the San Francisco Public Library system, the model will be back on display this winter at 29 branch libraries throughout the city where locals can view their own neighborhoods in miniature as they looked in 1940. After that, it will hopefully be reassembled in its entirety at the SFMOMA contemporaneous with a special exhibition of Diego Rivera’s Pan-American Unity mural that he created for the 1939-40 World’s Fair on San Francisco’s Treasure Island. The model will then need a permanent home. It would make a superb centerpiece for the New Deal museum that the Living New Deal hopes to build in the city that the model depicts.

Close up. The model of San Francisco reflects the city as it was in 1939-1940.

Close up
The model of San Francisco reflects the city as it was in 1939-1940.
Photo Credit: Susan Ives

St Anne of the Sunset Church

St Anne of the Sunset Church
Corner of Funston and Judah
Photo Credit: Susan Ives

Overlooking Playland-at-the-Beach

Overlooking Playland-at-the-Beach
The amusement park was demolished in 1972
Photo Credit: Susan Ives

War Memorial Opera House and Herbst Theatre

War Memorial Opera House and Herbst Theatre
Van Ness Avenue
Photo Credit: Susan Ives

Gray Brechin is a geographer and Project Scholar of the Living New Deal. He is the author of Imperial San Francisco: Urban Power, Earthly Ruin.

A Firebreak Runs Through It

In the wake of the most catastrophic wildfires in California’s history, Donald Trump accused state officials of shoddy forest management and recommended that the state’s dying forests should be raked. “Very important,” he said, to take care of the forest floor. Oddly enough, the New Deal’s enemies accused WPA workers of raking the forest as a synonym for boondoggling the taxpayers’ hard-earned cash.

Popular Science Magazine, 1934

Popular Science Magazine, 1934
Black line on this map shows the location of the 800-mile fire break then being built to create the man-made barrier, which will be known as Ponderosa Way.

President Franklin Roosevelt knew a good deal more about forestry than his current successor. He described himself as a grower of trees, and historian Douglas Brinkley, who called him the Forester-in-Chief, ascribed the inception of the Ponderosa Way to him. FDR created the Civilian Conservation Corps (CCC) in 1933, and in 1934, CCC workers began to cut a north-south firebreak and access road—by some accounts up to 800 miles long—through the rugged foothills of California’s Sierra Nevada. The Ponderosa Way project employed 16,000 CCC men building bridges, laying culverts, and grading the road to create a barrier to keep wildfires in the scrubby lower elevations from reaching timber at mid-elevations. It was the CCC’s largest project in California.

CCC Enrollees Help to Control a Fire near Angeles National Forest, California

CCC enrollees work to control a fire, 1935
Angeles National Forest, California

FDR regretfully ended the CCC’s immense labor force in 1942 during the mobilization for World War II. The decline of the great California firebreak began almost immediately. In 1949, the federal government turned it over to the California Department of Forestry (CDF), which showed scant interest in maintaining it. At one point, the Ponderosa Way partially reverted back to federal jurisdiction, but no public agency much wanted the orphaned firebreak or remembered the purpose for which it had been so painstakingly built. It became discontinuous and, in many places, disappeared.

In 2007, the federal Bureau of Land Management (BLM) attempted to get some other agency to take responsibility for it. The CDF in Butte County told the BLM that what remained of the road might be useful for public access but it did not consider it vital for fire protection. Local resident Richard Faulkner, who at the time was living in the woods outside town, told a local newspaper, “For years now there hasn’t been any maintenance on this road of any kind. I want them to fix the road and maintain the bridge. I think it is very important from a fire standpoint.”

Ponderosa Way South over the North Fork of the Calaveras River

Ponderosa Way South over the North Fork of the Calaveras River
CCC bridge built in 1935. The deck was destroyed by the Butte Fire in 2015 and never repaired.
Photo Credit: Craig Philpott Courtesy Craig Philpott

When the Camp Fire, considered the worst wildfire in California in more than a century virtually erased the town of Paradise last month, few knew that the lengthy CCC firebreak transected the town. Like so many other public works bequeathed to us by the New Deal, it is a relic of a lost civilization that we neglect at our own peril. Whether the Ponderosa Way could have saved the town or offered an evacuation route may never be known.

Ponderosa Way, North fork of the Mokelumne River, Amador and Calaveras Counties, California.

Ponderosa Way, North fork of the Mokelumne River, Amador and Calaveras Counties, California.
After the road deck was destroyed by fire, Ponderosa Way leading up to it was abandoned. It fell into disrepair and was deemed unsafe.
Photo Credit: Craig Philpott Courtesy Craig Philpott

Ponderosa Way Bridge crossing the North Fork of the American River Placer County, California.

Ponderosa Way Bridge crossing the North Fork of the American River Placer County, California.
Pony truss bridge built in 1935. It is still open to traffic.
Photo Credit: Craig Philpott Courtesy Craig Philpott

Gray Brechin is a geographer and Project Scholar of the Living New Deal. He is the author of Imperial San Francisco: Urban Power, Earthly Ruin.

Reviving the New Deal’s Lost History in New York City

"Indian Bowman,” by Wheeler Williams. Canal Street Post Office, Manhattan

“Indian Bowman,” Sculpture by Wheeler Williams
Canal Street Post Office, Manhattan
Photo Credit: Susan Ives


The eerie absence of historic signage marking the New Deal’s achievements in New York City is striking, especially given the city’s favored status as a recipient of New Deal funding. Between 1936 and 1937, the Works Progress Administration (WPA) funneled one-seventh of its total monies to New York City, earning it the nickname of the “47th state” among Washington insiders.

Today, commuters can thank New Deal programs for making their daily round trip possible via the Lincoln Tunnel, the Triborough Bridge, and the Henry Hudson Parkway. Traffic still pours into Manhattan from the outer boroughs through the Queens-Midtown and Brooklyn-Battery Tunnels. LaGuardia is still a hub for air travel.

Tavern on the Green, Central Park

Tavern on the Green
Central Park, Manhattan
Photo Credit: Deborah Gardner

And these well-known structures are the least of it, says Living New Deal Research Associate Frank Da Cruz, who has been documenting New Deal sites in the city. Da Cruz provided much of the data for the Living New Deal’s map “Guide to New Deal Public Works and Art of New York City,” published in 2016. He has identified about 600 sites around the city so far, many of them in the city’s parks.

Red Hook Recreation Center, Brooklyn

Red Hook Recreation Center
Photo Credit: Arthur Rothstein, Courtesy Library of Congress

The WPA, PWA, and other New Deal public works programs created jobs for tens of thousands of workers who shaped the city as we know it today. The New Deal tackled New York’s massive infrastructure needs by constructing power plants, sewers, power lines, water mains, and much of the city’s subway system, along with schools, post offices, hospitals, playgrounds, pools, and recreation centers across the five boroughs.

The reasons for the New Deal’s disappearance from the city’s collective memory aren’t entirely clear. Many believe that its virtual deletion is rooted in the antagonism between FDR and Robert Moses—the controversial powerbroker who, as “czar” of urban development, transformed the city during the mid-20th century. In the post-war years, Americans turned toward private sector solutions in matters of infrastructure, urban renewal, and job creation, relegating “big government” to the past.

Triborough Bridge. The massive project connected Manhattan, Queens, and the Bronx

Triborough Bridge, 1936
The massive project connected Manhattan, Queens, and the Bronx

Now, a committed group of New Yorkers has set out to recover New York’s New Deal history. “Our aim is to mark hundreds of New Deal sites around the city with commemorative plaques, cornerstones, and other interpretative signage,” says Grace (“Jinx”) Roosevelt, co-chair of the Living New Deal’s New York working group. “We want to ensure that future generations have a visible record of a time and place when government invested in the people of this country.”

For more information and to get involved, write to: [email protected].

Margaret W. Crane ("Peg") is the Living New Deal program associate for New York City. A freelance writer, her work has appeared in the Los Angeles Times, The Scientist, and numerous health and education websites.

Paint and Politics—the Life and Work of Victor Arnautoff
By Robert Cherny

Victor Arnautoff, Self Portrait, 1934

Victor Arnautoff, Self Portrait, 1934
The artist included this self portrait in his “City Life” mural.
Photo Credit: Robert Cherny

Victor Arnautoff was a prolific artist of public murals during the New Deal, many of which are still in place.

Born in Russia in 1896, Arnautoff was a cavalry officer in WWI and later in the White Siberian army during the Russian Civil War. Escaping into northeastern China, he married and his father-in-law paid for him to attend the California School of Fine Arts in San Francisco. His first public mural, in 1929, can be seen in the city’s Old Cathedral of the Holy Virgin.

Arnautoff and his family moved to Mexico where he worked as an assistant to the famed muralist Diego Rivera. Returning to San Francisco in 1931, Arnautoff gained attention by painting a large fresco mural on his studio wall. He then did several fresco panels at the Palo Alto Clinic that remain on view.

Painting the mural “City Life.”

Painting the mural “City Life.”
San Francisco’s Coit Tower, 1934
Photo Credit: Courtesy of the History Center, San Francisco Public Library

With the New Deal in 1933, federal funds became available for public art. In San Francisco, the Public Works of Art Project hired 25 artists to create murals at Coit Tower. Arnautoff, highly experienced in fresco technique, was designated technical coordinator of the project. His mural, City Life, completed in 1934, presents a vivid kaleidoscope of downtown San Francisco at a time of economic and social upheaval.

Arnautoff’s next New Deal commission, a large mural in the Protestant chapel at the Presidio of San Francisco, funded by the State Emergency Relief Administration, depicts historical vignettes and contemporary activities at the military base, including the Army’s supervision of the Civilian Conservation Corps.

Arnautoff at work, George Washington High School, San Francisco, 1936

Arnautoff at work
George Washington High School, San Francisco, 1936
Photo Credit: Courtesy of the History Center, San Francisco Public Library

Arnautoff’s political views moved to the left in the mid-1930s, and he sometimes incorporated social criticism into his art. His largest single New Deal commission was thirteen fresco panels on the life of George Washington, painted in 1936 at the newly built George Washington High School in San Francisco. Funded by the WPA’s Federal Art Project, the murals present a counter narrative to the high school history texts of the time: the panel on Mount Vernon emphasizes Washington’s dependence on slave labor, and that on the westward “march of the white race” (Arnautoff’s description) shows it taking place over the body of dead Indian.

He exhibited at the 1939 Golden Gate International Exposition, the 1935 California Pacific Exposition, and the 1940 New York World’s Fair.

Mural, “Life of Washington,” George Washington High School, San Francisco The fresco, consists of 12 panels and measures 1600-square-feet

Mural, “Life of Washington,” George Washington High School, San Francisco
The fresco, consists of 12 panels and measures 1600-square-feet
Photo Credit: Richard Evans

Between 1938 and 1942 Arnautoff completed five Treasury Section post office murals. Those in College Station and Linden, Texas, prominently featured African Americans, rarely depicted in public artworks. His post office murals can still be seen at Linden and at Pacific Grove and South San Francisco, California. Arnautoff’s mural for the Richmond, California, Post Office was recently discovered in a packing crate in the post office’s basement. It is being restored for exhibition in the Richmond Museum of History.

Victor Arnautoff, Self Portrait, c:1950

Victor Arnautoff, Self Portrait, c:1950
Arnautoff painted this self-portrait opposing HR 9490, the McCarran Internal Security Act. The Act required Communist organizations to register with the U.S. Attorney General and established the Subversive Activities Control Board.
Photo Credit: With kind permission of INVA publishing house, Russia

In the 1950s, Arnautoff, while teaching at Stanford, was shunned for his leftist views and was interrogated by the House Un-American Activities Committee. In 1963, after the death of his wife, he emigrated to the Soviet Union where he continued to paint and make prints and created three large public murals using mosaic tiles. He died in 1979.

Robert W. Cherny is professor emeritus of history at San Francisco State University. He is the author of Victor Arnautoff and the Politics of Art (University of Illinois Press, 2017), and numerous books and essays on U.S. history and politics.

Our New Map and Guide to New Deal New York
by Richard A Walker

Two years in the making, the Living New Deal’s newest publication, a “Map and Guide to New Deal New York” highlights nearly one thousand public works throughout the five boroughs and describes 50 of the city’s notable New Deal buildings, parks, murals, and artworks. The 18 x 27 inch, multi-color, citywide map folds to pocket size. Three inset maps offer walking tours to the New Deal in Central Park, Midtown, and Downtown Manhattan. The “Map and Guide to New Deal New York” is the second map the Living New Deal has published showing the impact of the New Deal. “Guide to the Art and Architecture of San Francisco,” published in 2013, has proved popular with residents, tourists, and teachers alike.

We are grateful to the many people who guided us in selecting the New Deal sites featured on the New York map and who carefully reviewed many drafts. Special thanks for the excellent work of cartographer Molly Roy and designer Linda Herman. Two events will be held in Manhattan to celebrate the completion of the New York map. Each will feature leading New Deal historians, authors, and exhibits on New Deal history and activism.

Thurs, May 11, 6pm at Roosevelt House at Hunter College. Information and registration

Thurs, May 18, 6:30pm, Museum of the City of New York. Information and registration

The Map and Guide to New Deal New York can be purchased for $6.

Richard A Walker is the director of the Living New Deal.