Word: holger
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Dates: during 1930-1939
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Back of the whole set-up was a belief that the more plain workmanship with canvas, wood, stone, metals, textiles, clay and color goes on in a country, the finer fine arts it may produce. Holger Cahill is fond of using a fact of nature to illustrate his theory of national art: "You don't often find mountains where there is no plateau." Hostile critics have rejoined that plateaus and genuine art movements alike are beyond the power of governments to create. But even such critics admit that the Federal Art Project has gone about...
Centres. Beyond keeping artists at work under capable direction, Holger Cahill had two principal aims for the Art Project: 1) to clarify, by research, "the native background of the arts," and 2) to break up the big city monopoly on Art by getting people all over the U. S. interested in art as an everyday part of living and working. To accomplish the first aim, the Index of American Design was set up in January 1936, and to date has employed about 500 watercolorists and draftsmen in digging up old wood carving, weathervanes, costumes, toys, needlework, china, and other craft...
...himself a remarkably astute social engineer. His first move was to make hefty, dark-eyed, Thomas C. Parker of Richmond, Va., his Assistant and Regional Director for the South. Parker, like Cahill, was devoted to the idea of building up community art centres. They began in the South, where Holger Cahill had observed the greatest need. The First Federal-sponsored community centre was started by Director Parker in Raleigh, N. C., in January 1936. Since then Assistant Parker, operating from his office in the Project's old building on Washington's G Street, has planned and planted centres...
...exhibition of contemporary U.S. art, to be housed in a $300,000 building once intended for a show of "arts in production." The distinguished chairman of the governing committee is President A. (for Anson) Conger Goodyear of the Museum of Modern Art; the distinguished director is scholarly, roly-poly Holger Cahil, longtime director of the WPA Federal Art project. Manhattanites, appeased, looked forward to a fairer fair...
...this movement and provided an outlet for it. Organized in 1934, the Treasury Department's Division of Painting & Sculpture has kept up spirited competition between U. S. muralists for the walls of Washington's huge departmental buildings. For artists on relief, WPA's astute Art Director Holger Cahill nas found some 500 mural jobs employing more than 1,000 painters. Both Federal agencies are haopy about the results, but the pride of me Treasury is in mural painting alone and in such newly-discovered talents as Frank Mechau, of Colorado, whose Dangers of the Mail was chosen...