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A must have book for historians, aficionados of Public Works of Art / New Deal art, and students of Art History. Author Masha Zakheim interviewed many of the 26 muralists—all of them gone now—making this book a stand alone connection with the past.Includes insightful essays by leading art historians Francis O'Connor and Linda Bank Downs. Jeffrey Tilman, author of a book on the architect Arthur Brown, Jr., contributes a detailed account of the construction of the tower. Since the Tower was first opened to the public during the turbulent times of the 1930s, there's been increased interest in the Public Works Art Project (PWAP), recognized today as the most significant collection of New Deal art. The influence of renowned Mexican artist Diego Rivera has focused additional attention on the murals, since some of the 26 Tower artists had studied with him.In January 2008, the Tower was placed on the National Register of Historic Places and the California Register of Historical Resources.
Victor Arnautoff reigned as San Francisco's leading mural painter during the New Deal era. Yet that was only part of an astonishing life journey from Tsarist officer to leftist painter. Robert W. Cherny's masterful biography of Arnautoff braids the artist's work with his increasingly leftist politics and the tenor of his times. Delving into sources on Russian émigrés and San Francisco's arts communities, Cherny traces Arnautoff's life from refugee art student and assistant to Diego Rivera to prominence in the New Deal's art projects and a faculty position at Stanford University. As Arnautoff's politics moved left, he often incorporated working people and people of color into his treatment of the American past and present. In the 1950s, however, his participation in leftist organizations and a highly critical cartoon of Richard Nixon landed him before the House Un-American Activities Committee and led to calls for his dismissal from Stanford. Arnautoff eventually departed America, a refugee of another kind, now fleeing personal loss and the disintegration of the left-labor culture that had nurtured him, before resuming his artistic career in the Soviet Union that he had fought in his youth to destroy.
History and art intertwine in this celebration of the San Francisco Art Commission's promotion of public art through eight decades of political, social, and economic changes. Wels specializes in history and is a resident of the city. Abundantly illustrated and will intrigue those who live in San Francisco, those who just visit and leave their heart, and anyone involved with cities and public art.
Created in 1934, the Coit Tower murals were sponsored by the Public Works of Art Project (PWAP), the first of the New Deal art programs. Twenty-five master artists and their assistants worked there, most of them in buon fresco, Nearly all of them drew upon the palette and style of Diego Rivera. The project boosted the careers of Victor Arnautoff, Lucien Labaudt, Bernard Zakheim, and others, but Communist symbols in a few murals sparked the first of many national controversies over New Deal art. Sixty full-color photographs illustrate Robert Cherny’s history of the murals from their conception and completion through their evolution into a beloved San Francisco landmark. Cherny traces and critiques the treatment of the murals by art critics and historians. He also probes the legacies of Coit Tower and the PWAP before surveying San Francisco’s recent controversies over New Deal murals. An engaging account of an artistic landmark, The Coit Tower Murals tells the full story behind a public art masterpiece.
During the 1930s San Francisco's most ambitious public murals were painted by artists on the left. In this study, Anthony Lee shows how these painters, led by Diego Rivera, sought to transform murals into a vehicle for their rejection of the economic and political status quo and their support of labor and radical ideologies, including Communism. In addressing these subjects, the mural painters developed a new imagery, based on the activities of the city's laboring population - its efforts to organize, its protests, its strikes.
With a landmark around every corner and a picture perfect view atop every hill, San Francisco might be the world's most picturesque city. And yet, the Golden City is so much more than postcard vistas. It's a town alive with history, culture, and a palpable sense of grandeur best captured by a man known as San Francisco's Brassai. Walking the city's foggy streets, the fourth-generation San Franciscan captures the local's view in dramatic black-and-white photos— from fog-drenched mornings in North Beach and cable cars on Market Street to moody night shots of Coit Tower and the twists and turns of Lombard Street. In San Francisco, Portrait of a City 1940–1960, Fred Lyon captures the iconic landscapes and one-of-a-kind personalities that transformed the city by the bay into a legend. Lyon's anecdotes and personal remembrances, including sly portraits of San Francisco characters such as writer Herb Caen, painters Richard Diebenkorn and Jean Varda, and madame and former mayor of Sausalito Sally Stanford add an artist's first-hand view to this portrait of a classic American city.
"Text and images related to particular structures first appeared in the San Francisco Chronicle."
Arthur Brown Jr. (1874-1957) is one of the most important, yet underpublished, architects of the twentieth century.
San Francisco, 1942. Four months after Pearl Harbor. No one knows if the Japanese will invade California and occupy San Francisco. Harlan Winthrop, a high society banker who heads the city's war bonds campaign is stabbed to death. The pro-Axis greeting "RoBerTo" is painted on the wall next to the body in Coit Tower. Is this killing part of a plot to weaken morale by creating even more anxiety among San Franciscans? Police Chief Gerald O'Reilly keeps the murder from the press and the public. He's afraid the dramatic circumstances of the crime could aggravate the deep divisions in the city. Residents are tense and split into factions. Many feel torn between their American patriotism and their Irish, Italian, German, and Japanese ancestral ties. Former Police Commissioner Tony Bosco is pressed into service. Bosco works behind the scenes to find the killer aided by detective Dennis Sullivan and Ruthie Fuller, Chief O'Reilly's special assistant. They work to identify and arrest the killer in a city changing before their eyes. Tens of thousands of war workers, sailors, and soldiers flood into San Francisco; the Army removes the city's Japanese Americans from their homes and businesses; white racism and sexism are challenged by racial justice activists and feminists; the powerful Catholic Church is challenged by the radical Communist Party; the war tests old friendships and political alliances as never before.Bill Issel is an award winning historian and author of many books and articles on US Social History, US Political History, US Labor History, and San Francisco history. This is his first novel.