Word: mural
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Sweatshops & Justice. Federal support of art got its start when George Biddle, now 81, an artist and Harvard law graduate, urged President Roosevelt to sponsor mural painting with a Government program similar to that in Mexico. F.D.R. was interested, but, he cautioned Biddle, he did not want "a lot of young enthusiasts painting Lenin's head on the Justice Building." Nonetheless, many of the program's finest murals contained notes of social protest. Even Biddle titled his own fresco for the Justice Building The Sweatshop and Tenement of Yesterday Can Be the Life Planned with Justice of Tomorrow...
...hailed as a precursor of pop art, and responded by saying: "How can these avant-garde people get anything out of me? I'm so hopelessly commonplace." Probably his most lasting single work, bought by John Jacob Astor in 1906 for $50,000, is a 30-ft. mural of King Cole and his merry court that still jollifies the bar of Manhattan's St. Regis Hotel...
...Greece. And even in his large-scale (7 ft. by 17 ft.) treatment of such serious subjects as Dublin's Easter Rebellion, the black bars of the Elegies now seem to have opened and the middle field made gay with banner forms. For his next commission, a mural in the Gropius-designed John Fitzgerald Kennedy Federal Office Building in Boston, the bars will hopefully be burst even farther asunder. Whatever emerges, Motherwell will not lack for space: the mural will cover 224 sq. ft., looming high over the lobby...
...exhibition confirms what Orozco himself maintained: that his best work was in his drawings and murals. He considered his oil paintings mediocre, turned them out mainly to make money. By contrast, when his heart was involved, he worked for a pittance. He got $4 a day while painting the 13,000-sq.-ft. ceiling mural in the Hospicio Cabanas at Guadalajara. Today this allegorical representation of the elements ranks as his masterpiece...
...draftsmanship that he owed as much to his spiritual pilgrimage to Michelangelo's Sistine Chapel and El Greco's Toledo as he did to the allegiance of his Indian blood. The sketch (17½ in. by 22 in.) for one of the figures in Orozco's mural in the rotunda of the University at Guadalajara is more than the record of a painter's solution to a difficult problem in perspective; it is in itself a master drawing in the great tradition of Western...