Sentences with phrase «federal art project»

Lush images of modern dance pioneers; haunting early cyanotypes of algae (the first photographic works to be produced by a woman); majestic geographical surveys taken along the Union Pacific Railroad, iconic Depression - era images taken under the Farm Security Administration's famed photography program; Berenice Abbott's epic documentation of 1930s New York for the Federal Art Project; stunning 19th century vistas of the Egypt and Syria; scenes and portraits of Ellis Island Immigrants, the Statue of Liberty under construction...

He was one of the founders of the American Abstract Artists, and he created significant murals as part of the Federal Art Project.

He found work with the Works Progress Administration (WPA) as an art teacher at the Queens Museum, and then joined the easel division of the WPA's Federal Art Project 1938.

Delaney found work with the mural division of the Federal Art Project (under the aegis of the Works Progress Administration), and in 1935, he worked with artist Charles Alston on the Harlem Hospital mural project.

Joins Works Progress Administration (WPA) Federal Art Project.

Begins working on the U.S. Treasury Department Federal Art Project of the WPA (Easel Division).

In 1936 he worked for the Works Progress Administration Federal Art Project and became one of the founding members of the American Abstract Artists group.

Five Distinguished Alumni: The WPA Federal Art Project.

A number of the artists had been influenced by the experience of painting murals for the New Deal's Federal Art Project, with many going on to favour monumental canvases that almost engulf the viewer.

Under the auspices of the WPA's Federal Art Project, Friedman painted several murals for post offices and other buildings.

Starting in 1937, when De Kooning had to leave the Federal Art Project because he did not have American citizenship, he began to work full - time as an artist, earning income from commissions and by giving lessons.

During his time in New York, both as a student at ASL and as a participant in the Works Progress Administration's Federal Art Project, Smith developed friendships with many artists, including his future wife Dorothy Dehner, Willem and Elaine de Kooning, Stuart Davis, Milton Avery, Arshile Gorky, and perhaps most importantly for his artistic development, John Graham.

In 1934, Krasner was appointed to the Public Works of Art Project, and the following year she and Rosenberg were assigned to Max Spivak's mural project (for the Federal Art Project [FAP]-RRB-.

Nevertheless, during the period 1935 - 1943, he took part in the Federal Art Project and began to learn something about modern European painting, both abstract and Surrealist.

He joined the Federal Art Project of the Work Projects Administration, executing murals for the 1939 World's Fair and for the Queensbridge Housing Project on Long Island.

However, he and his parents suffered severe financial hardship during the Depression, a situation aggravated by his refusal to join the Federal Art Project, which he saw as a form of welfare.

In the 1930s, she worked under the auspices of the Federal Art Project of the Works Progress Administration, which allowed her and her colleagues an important opportunity to earn a salary for making and teaching art.

From 1935 to 1938, he was a WPA artist with the Federal Art Project which gave him the time to devote his energy to developing and experimenting with his art.

During the Depression of the 1930s, Davis taught at the Art Students League in New York, and also produced murals and other works for the Federal Art Project (Swing Landscape, 1938, Indiana University of Art).

De Kooning joined the Artists Union in 1934, and in 1935 was employed in the Federal Art Project of the Works Progress Administration, for which he designed a number of murals including some for the Williamsburg Federal Housing Project in Brooklyn.

In October 1935, De Kooning began to work on the WPA (Works Progress Administration) Federal Art Project, and he won the Logan Medal of the arts while working together with Colombian Santiago Martínez Delgado.

De Kooning made his living as a house painter until 1935 and from then until 1937 he worked in the mural and easel painting divisions of the Federal Art Project, but was forced to resign because he was not yet an American citizen.

This provided Pollock with a regular income, just as the Federal Art Project was shutting down.

From 1935 to 1941, the artist worked under the WPA Federal Art Project alongside Willem de Kooning, a major government initiative to provide artists with work at the time of the Great Depression.

After traveling to Europe in 1925 and 1928, he worked on the Federal Art Project of the Works Progress Administration and began teaching at the Art Students League in 1933.

In 1934, Cavallon was employed in the Works Progress Administration / Federal Art Project (WPA / FAP) Easel & Mural Division as Arshile Gorky's assistant.

Often monumental in scale, a number of the artists were influenced by the experience of painting murals for the New Deal's Federal Art Project, their works are at times intense, spontaneous and deeply expressive.

From 1935 to 1940 he painted a number of murals for the Federal Art Project.

He worked as an artist and teacher for the Federal Art Project in the New Deal years and was a founding member of the American Abstract Artists group in 1936.

From 1935 - 42, he worked on the WPA Federal Art Project.

Swing Landscape [fig. 1][fig. 1] Stuart Davis, Swing Landscape, 1938, oil on canvas, Indiana University, Bloomington, Ezkanazi Museum of Art was the first of two commissions that Stuart Davis received from the Mural Division of the Federal Art Project (FAP), an agency of the Works Progress Administration (WPA), to make large - scale paintings for specific sites in New York.

Created by the New York City WPA Federal Art Project between 1936 and 1939.

But working under a subdivision of the WPA known as the Federal Art Project, these artists got to work to help the country recover from the Great Depression, as part of President Franklin D. Roosevelt's New Deal.

With the photographer's Federal Art Project «Changing New York» hand stamp on the reverse u.c., titled and dated with numeric notations in pencil and with the photographer's «50 commerce st.» studio address stamp on the reverse at center.

Photo via Federal Art Project, Photographic Division, Smithsonian National Archives of American Art.

The other half of the mix - the creative drive and sense of social obligation - came from the strong Protestant work ethic instilled in American artists by the experience of the Depression and the Federal Art Project of the 1930s.

Lee Krasner was an artist who studied cubism at Cooper Union and worked as a painter as part of the New Deal's Federal Art Project.

In 1937, along with Jackson Pollock and Louise Nevelson, he was employed by the Federal Art Project, one of the branches of the Works Progress Administration created during the Great Depression which would operate until 1941.

As a young artist, he would have an unbeatable opportunity in 1935, when he became an artist for the federal art project for the WPA (Works Progress Administration), through which he created a number of murals and other works.

As young men and women, many of them worked on the Federal Art Project, although between 1942 and 1949 all the major artists of the New York School except Hofmann transcended their early influences to achieve a distinctive personal style, and all placed paramount emphasis on content or meaningful subject matter in their art, which was predominantly abstract.

From 1936 to 1942, Lundeberg was employed by the Works Progress Administration's Federal Art Project, for which she produced lithographs, easel paintings, and murals in the Los Angeles area.

He was the director of the Southern California division of the Works Project Administration Federal Art Project from 1935 to 1943, [12] and personally completed several major civic art projects, including the murals in Santa Monica City Hall.

After a short stint working for the WPA's Federal Art Project's easel painting division, Gottlieb spent two years (1937 - 39) on the edge of the Arizona desert, painting barren landscapes with sage brush and cacti.

Burgoyne Diller, head of the mural division of the Federal Art Project in the W.P.A. and himself an abstract painter, chose the abstract artists to decorate the Williamsburg project, which was completed in 1937.

In 1936, he joined the Federal Art Project as a muralist, remaining with the project until 1942.

Later, after the war, he shared a studio and a sensibility with Willem de Kooning (both artists had worked together on the Works Progress Administration Federal Art Project in the late 1930s).

As part of the FDR's New Deal program, Cavallon participated in the Easel and Mural Division of the WPA Federal Art Project, serving as Arshile Gorky's assistant.

[1] He opened the Spokane Art Center through the Federal Art Project during the Great Depression.

The Works Progress Administration - Federal Art Project Collection (WPA - FAP) contains approximately 300 paintings, prints, and sculpture from the Great Depression era.

Artists were included in the Public Works of Art Project and then the WPA Federal Art Project.