New Deal Artists and Programs During the Depression - Revision history

Ccarlsson: added photo

2020-05-28T00:08:01Z

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	Paul Carey, one of many artists interviewed by the Smithsonian, recalled working and learning with other artists. “[W]e drew from the model frequently(26) and had others [draw] with us at the studio, in the old Montgomery Block… (27) [T]he WPA, well, it’s the most unbelievable thing that I have ever heard of. They got seventy-five bucks a month and that was pretty good. They could live on it in a most modest sort of way. But it extended careers from art school into several years of further development, further maturity.”(28)		Paul Carey, one of many artists interviewed by the Smithsonian, recalled working and learning with other artists. “[W]e drew from the model frequently(26) and had others [draw] with us at the studio, in the old Montgomery Block… (27) [T]he WPA, well, it’s the most unbelievable thing that I have ever heard of. They got seventy-five bucks a month and that was pretty good. They could live on it in a most modest sort of way. But it extended careers from art school into several years of further development, further maturity.”(28)

			[[Image:Artists-Rendezvous-and-Prosperity-Corner-in-Montgomery-Block-c-1955.jpg]]

			'''Doorway in the Montgomery Block, c. 1955.'''

			''Photo: © Shein & Shein''

	Sculptor [[Sargent Johnson and His Milieu\|Sargent Johnson]] said, “the [WPA was the] best thing that ever happened to me because it gave me more of an incentive to keep on working, where at the time things looked pretty dreary and I thought about getting out of it because, you know, I come from a family of people who thought all artists were drunkards and everything else. I thought I’d given it up at one time but I think the WPA helped me to stay… We could employ other artists too, people who were studying, who wanted to get a chance at doing something in that field.”(29)		Sculptor [[Sargent Johnson and His Milieu\|Sargent Johnson]] said, “the [WPA was the] best thing that ever happened to me because it gave me more of an incentive to keep on working, where at the time things looked pretty dreary and I thought about getting out of it because, you know, I come from a family of people who thought all artists were drunkards and everything else. I thought I’d given it up at one time but I think the WPA helped me to stay… We could employ other artists too, people who were studying, who wanted to get a chance at doing something in that field.”(29)

Ccarlsson: added link

2018-09-07T23:51:09Z

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	''Photo: San Francisco History Center, San Francisco Public Library''		''Photo: San Francisco History Center, San Francisco Public Library''

	Montgomery Street runs from the Financial District, passes Chinatown and North Beach, and ends at a cliff atop Telegraph Hill. It had been the heart of the Barbary Coast, the rough and ready center of the Gold Rush in San Francisco. Poet Kenneth Rexroth, known for inspiring the writers of the Beat Generation, and his artist wife Andree first came to San Francisco in the late 1920s. Rexroth described the bohemian community he found as “a tiny enclave in Italian North Beach in those days: a cooperative gallery that soon failed; a speak-easy; Isadore Gomez’s…; a restaurant, the Casa Beguine; the Montgomery block; a row of studios in the next block on Montgomery street; and a few shacks scattered among the dirt roads and goats on Telegraph Hill.”(18)		Montgomery Street runs from the Financial District, passes Chinatown and North Beach, and ends at a cliff atop Telegraph Hill. It had been the heart of the Barbary Coast, the rough and ready [[From Fish-Choked Mudflat to the Pyramid\|center of the Gold Rush]] in San Francisco. Poet Kenneth Rexroth, known for inspiring the writers of the Beat Generation, and his artist wife Andree first came to San Francisco in the late 1920s. Rexroth described the bohemian community he found as “a tiny enclave in Italian North Beach in those days: a cooperative gallery that soon failed; a speak-easy; Isadore Gomez’s…; a restaurant, the Casa Beguine; the Montgomery block; a row of studios in the next block on Montgomery street; and a few shacks scattered among the dirt roads and goats on Telegraph Hill.”(18)

	Sculptor Ruth Cravath described the scene as she found it in the 1930s, “the Montgomery Block had four floors. The first floor was offices. Artists had nothing to do with that… The Montgomery Block was a beautiful building. It had these sculptured heads around the outside… There was a big, open court… It was very good light for working… Every studio had two windows and some of [the studios] had running water and some didn't... We had a luxurious one. We had running water and…a little two-burner gas plate that we cooked on…”(19)		Sculptor Ruth Cravath described the scene as she found it in the 1930s, “the Montgomery Block had four floors. The first floor was offices. Artists had nothing to do with that… The Montgomery Block was a beautiful building. It had these sculptured heads around the outside… There was a big, open court… It was very good light for working… Every studio had two windows and some of [the studios] had running water and some didn't... We had a luxurious one. We had running water and…a little two-burner gas plate that we cooked on…”(19)

Lisaruth: corrected spelling of Jimmie Schein's name

2018-07-24T18:34:47Z

corrected spelling of Jimmie Schein's name

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	'''Montgomery Block, 1930s'''		'''Montgomery Block, 1930s'''

	''Photo: Courtesy of Jimmie ~~Shein~~''		''Photo: Courtesy of Jimmie Schein''

	[[Image:Montgomery Block 1933 AAC-5052.jpg]]		[[Image:Montgomery Block 1933 AAC-5052.jpg]]
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	'''Montgomery Block, 1870s.'''		'''Montgomery Block, 1870s.'''

	''Photo: Courtesy of Jimmie ~~Shein~~''		''Photo: Courtesy of Jimmie Schein''

	[[Image:Montgomery Block on Montgomery Street 1856 AAC-5644.jpg]]		[[Image:Montgomery Block on Montgomery Street 1856 AAC-5644.jpg]]

Ccarlsson: fixed footnotes

2018-06-03T21:35:22Z

fixed footnotes

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Ccarlsson: Ccarlsson moved page The Monkey Block to New Deal Artists and Programs During the Depression

2018-06-03T21:24:39Z

Ccarlsson moved page The Monkey Block to New Deal Artists and Programs During the Depression

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Ccarlsson: added category buildings

2013-01-06T22:29:23Z

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	[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Downtown]] [[category:1850s]] [[category:1950s]] [[~~courtesy~~: 1870s]] [[category:buildings]]		[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Downtown]] [[category:1850s]] [[category:1950s]] [[category: 1870s]] [[category:buildings]]

Ccarlsson: added category buildings

2013-01-06T22:28:26Z

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	[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Downtown]] [[category:1850s]] [[category:1950s]] [[courtesy: 1870s]]		[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Downtown]] [[category:1850s]] [[category:1950s]] [[courtesy: 1870s]] [[category:buildings]]

Ccarlsson: added two new photos

2012-08-01T07:22:04Z

added two new photos

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	''by Harvey Smith, M.P.H.''		''by Harvey Smith, M.P.H.''

			[[Image:Montgomery-Block-c-1930s.jpg]]

			'''Montgomery Block, 1930s'''

			''Photo: Courtesy of Jimmie Shein''

	[[Image:Montgomery Block 1933 AAC-5052.jpg]]		[[Image:Montgomery Block 1933 AAC-5052.jpg]]
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	<font size=4>The Montgomery Block</font size>		<font size=4>The Montgomery Block</font size>

			[[Image:Montgomery-Block-1870s-by-Chas-Pope-of-AIA-courtesy-Jimmie-Shein.jpg]]

			'''Montgomery Block, 1870s.'''

			''Photo: Courtesy of Jimmie Shein''

	[[Image:Montgomery Block on Montgomery Street 1856 AAC-5644.jpg]]		[[Image:Montgomery Block on Montgomery Street 1856 AAC-5644.jpg]]
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	[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Downtown]] [[category:1850s]] [[category:1950s]]		[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Downtown]] [[category:1850s]] [[category:1950s]] [[courtesy: 1870s]]

Ccarlsson at 05:53, 18 May 2011

2011-05-18T05:53:13Z

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	'''Contact information:'''		'''Contact information:'''

	Harvey Smith - harveysmithberkeley@yahoo.com		Harvey Smith - harveysmithberkeley@yahoo.com<br>
	[http://www.newdeallegacy.org National New Deal Preservation Association]		[http://www.newdeallegacy.org National New Deal Preservation Association]<br>
	[http://livingnewdeal.berkeley.edu California’s Living New Deal Project]		[http://livingnewdeal.berkeley.edu California’s Living New Deal Project] <br>

	<hr>		<hr>
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	46. New Deal murals were later to influence the development of the 1970s mural movement. See Knight, Cher Krause. 2008. Public Art: Theory, Practice and Populism. Malden, MA: Blackwell Publishing. p. 117-118.<br>		46. New Deal murals were later to influence the development of the 1970s mural movement. See Knight, Cher Krause. 2008. Public Art: Theory, Practice and Populism. Malden, MA: Blackwell Publishing. p. 117-118.<br>
	47. Kuttner, Robert, “The Bubble Economy,” American Prospect, September 24, 2007.<br>		47. Kuttner, Robert, “The Bubble Economy,” American Prospect, September 24, 2007.<br>
	Krugman, Paul, “The Gramm Connection,” The New York Times, March 29, 2008.<br>		Krugman, Paul, “The Gramm Connection,” The New York Times, March 29, 2008.<br>
	Stiglitz, Joseph E., “Capitalist Fools,” Vanity Fair, January 2009.<br>		Stiglitz, Joseph E., “Capitalist Fools,” Vanity Fair, January 2009.<br>
	Reich, Robert, “Too Big to Fail: Why The Big Banks Should be Broken Up, But Why The White House and Congress Don’t Want To,” robertreich.blogspot.com, October 25, 2009.<br>		Reich, Robert, “Too Big to Fail: Why The Big Banks Should be Broken Up, But Why The White House and Congress Don’t Want To,” robertreich.blogspot.com, October 25, 2009.<br>
	47. Today we have the choice between the comprehensive and progressive public policies of government regulation and Main Street programs, or the neo-liberal policies of tax cuts, trickle-down economics, de-regulation, and privatization and diminution of the public sector. To avoid getting lost among the dueling economists and public policy analysts in our zany contemporary political climate, current proposals can be measured by utilizing a “New Deal yardstick,” i.e., knowledge of the breadth and depth of the New Deal public policy. <br>		47. Today we have the choice between the comprehensive and progressive public policies of government regulation and Main Street programs, or the neo-liberal policies of tax cuts, trickle-down economics, de-regulation, and privatization and diminution of the public sector. To avoid getting lost among the dueling economists and public policy analysts in our zany contemporary political climate, current proposals can be measured by utilizing a “New Deal yardstick,” i.e., knowledge of the breadth and depth of the New Deal public policy. <br>



	[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Downtown]] [[category:1850s]] [[category:1950s]]		[[category:Public Art]] [[category:1930s]] [[category:North Beach]] [[category:Downtown]] [[category:1850s]] [[category:1950s]]

Ccarlsson: Created page with '''' Historical Essay ''' The Art Culture of the New Deal in the San Francisco Bay Are...'

2011-05-18T05:51:23Z

Created page with '''' Historical Essay ''' The Art Culture of the New Deal in the San Francisco Bay Are...'

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