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American Muralist Tom Lea

Smithsonian American Art Museum
ThumbnailOn September 24, the Smithsonian American Art Museum will co-host a national conference that examines the importance of preserving WPA-era murals using the work of celebrated American muralist Tom Lea as a case study.

Vassar Dormitory designed by Marcel Breuer, architect. Muralist: Adolph Gottlieb

Archives of American Art
1 photographic print : b&w ; 19 x 25 cm

Five Questions with Meg Saligman, Muralist and Conservation Advocate

Smithsonian American Art Museum
ThumbnailMeg Saligman is an award winning artist at the forefront of the contemporary mural movement in Philadelphia. She is recognized worldwide for her work with light, paint, glass, buildings, and people.

Muralist Nicolas Party Samples Great Artists of the Past Like a Visual DJ

Smithsonian Magazine
The Hirshhorn's installation, inspired by Barack Obama’s “sun will rise” promise of continuity, highlights fantasy landscapes, beauty of nature

Installation view of the Muralist and the modern architect exhibit at the Kootz Gallery

Archives of American Art
1 photographic print : b&w ; 9 x 11 cm

Date based on date of exhibit.

Installation view of the Muralist and the modern architect exhibit at the Kootz Gallery

Archives of American Art
1 photographic print : b&w ; 9 x 11 cm

Date based on date of exhibit.

Installation view of the Muralist and the modern architect exhibit at the Kootz Gallery

Archives of American Art
1 photographic print : b&w ; 9 x 11 cm Identification on verso (handwritten): Motherwell mural fragment & models of Architects' Collaborative school in Attleboro, Mass.; Kootz.
Date based on date of exhibit.

Ezra Winter

Smithsonian American Art Museum

Head of Orozco

Catalog of American Portraits

Maxfield Parrish

National Portrait Gallery

Diego Rivera

National Portrait Gallery
Diego Rivera is remembered for his public art and murals in Mexico and the United States. During the late 1920s and the 1930s, he painted monumental and powerful murals for public buildings, including a twenty-seven-panel fresco called Detroit Industry for the Detroit Institute of Arts. His 1933 mural for Rockefeller Center was canceled when he included among its portraits one of Lenin. Rivera was well known in the United States by the time he created this self-portrait. It is one of numerous lithographs he produced as a means of supporting himself while working on more time- consuming projects. The lively crosshatching strokes used to model the contours of his face relate directly to the technique he employed in his monumental murals. Notably, this image was used by several major newspapers to accompany his obituary, and thus, in significant ways, it is how the American public often pictured him.

Diego Rivera es recordado por sus obras de arte público y sus murales en México y Estados Unidos. Entre las décadas de 1920 y 1930 pintó murales de impactante monumentalidad para edificios públicos estadounidenses, entre ellos un fresco de veintisiete paneles llamado Detroit Industry (Detroit Institute of Arts). Su mural de 1933 para el Rockefeller Center fue cancelado cuando incluyó entre los represen- tados a Lenin. Para la fecha en que creó este autorretrato, Rivera era ya muy conocido en Estados Unidos. La obra es una de numerosas litografías que produjo para ganarse la vida mientras trabajaba en proyectos de más largo alcance. El vigoroso sombreado a rayas con que moldea los contornos de su rostro remite directamente a la técnica que empleaba en sus grandes murales. Cabe notar que esta imagen fue utilizada por varios periódicos importantes para acompañar su obituario y por lo tanto, de manera significativa, es así como lo recuerda el público estadounidense.

Edward Laning Self-Portrait

National Portrait Gallery

Edward Laning Self-Portrait

National Portrait Gallery

George Biddle Self-Portrait

National Portrait Gallery

Mystic

National Portrait Gallery

George Biddle Self-Portrait

National Portrait Gallery

William Morris Hunt

National Portrait Gallery

Elihu Vedder

National Portrait Gallery

Howard Chandler Christy

National Portrait Gallery

George Biddle Self-Portrait

National Portrait Gallery

Self-Portrait with chin in hand

National Portrait Gallery

Ben Shahn

National Portrait Gallery
Calder here portrays Ben Shahn as a person of tenacious resolve, ready to do battle for various political causes. The relationship between Calder and the social realist painter may seem highly improbable: while Shahn devoted his life and his art to liberal causes, Calder generally eschewed political issues in his art. However, along with his wife Louisa, Calder was deeply committed to liberal politics. With the rapid escalation of the Vietnam War in the 1960s, Calder and Shahn together advocated for an activist group called SANE (Sane Nuclear Policy), and both contributed posters and money for countless liberal and humanitarian organizations. As revealed through their lively correspondence, they also greatly enjoyed one another's company.
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