Word: mural
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Around 1824, Porter turned to mural painting. For him, painting was not art but craft, and his murals were the common man's answer to the costly, imported French wallpapers that adorned fashionable American homes. Characteristically, Porter shared the secret of his paint-mixing techniques with the public by publishing instructions and recipe booklets: "Dissolve half a pound of glue in a gallon of water, and with this sizing mix whatever colors may be required for the work." Foliage could be stippled on with corks and sponges; bark was suggested by "giving a tremulous motion to the brush...
...than 150 houses in more than 75 New England towns during his 20 years as a muralist and, as in the case of his portraits, rarely signed his work. One day in 1940, Jean Lipman, editor of Art in America, noticed Porter's signature and date on a mural. She followed up the clue, studied his style, slowly identified his other works, and eventually pieced his lifetime together in her book, Rufus Porter, Yankee Pioneer...
...great names of Spanish art assembled a show at the International Exposition in Paris to demonstrate their solidarity with the beleaguered republic. Picasso was represented by Guernica, his agonized portrayal of a small town obliterated by German dive bombers. From Miro came The Reaper, a ferocious antiwar mural that has since been lost. Towering above the other works in the Spanish pavilion was a graceful, 41-ft.-high stalk of flowing concrete, by a lanky Castilian sculptor who had been commissioned by the Loyalist government in Madrid to cast his own version of the struggle. He called it: The Spanish...
...forfeiture of school spirit and group identity. Left behind to be stored, scattered or abandoned are trophies, pictures, plaques, and every symbol of black identity, of black students' achievements." For one black school in Louisiana, the wonders of integration were symbolized by the fate of a large mural depicting Booker T. Washington and George Washington Carver. When whites took control of the building, they wasted no time in painting it over...
Project '70 encouraged artists to work with community groups on projects, even offering to suggest communities to those who knew of none. Muralist Harry Freeman and photographer Wendy Snyder worked with a South Boston group to place a psychedelic mural and a photo exhibit on the clapboard side of the Church of Our Savior. And they say that "Art Etc. for Southie" represents "an attempt to bring the power of art into the streets...