As the book’s description notes, “in 1935, the United States Congress began employing large numbers of American artists through the Works Progress Administration—fiction writers, photographers, poster artists, dramatists, painters, sculptors, muralists, wood carvers, composers and choreographers, as well as journalists, historians and researchers. Secretary of Commerce and supervisor of the WPA Harry Hopkins hailed it a ‘renascence of the arts, if we can call it a rebirth when it has no precedent in our history.’
Women were prominently involved, creating a wide variety of art and craft, interweaving their own stories with those of other women whose lives might not otherwise have received attention. This book surveys the thousands of women artists who worked for the U.S. government, the historical and social worlds they described and the collaborative depiction of womanhood they created at a pivotal moment in American history.”
I have a personal connection to this, as my late aunt, Nina Barr Wheeler, aka Nina Blake, was part of the WPA during the 1930s, and as a starving New York City artist was bussed out to the Midwest along with a group of other young women to assist the muralist Hildreth Meiere in creating murals for the Nebraska State Capitol Building, and told me about her experiences in detail – for her, as for many others, the WPA program was a life saver.
This is a fascinating book, richly illustrated with photographs of the paintings, sculptures and other works created by women during this era, as part of a progressive government program that valued the arts as an essential part of the fabric of society, and shines a light on an area of 20th century art that is too often ignored. It’s a first class piece of historical, cultural, and critical work, written in a lively, accessible style designed for both academics and the lay reader – it would make a great course text for a semester long examination of women in the arts in the 1930s and 40s.