Public Works of Art Project

File:Public Works of Art Project Leaders.jpg, Eleanor Roosevelt, Assistant Secretary of the Treasury L. W. Robert Jr., and Forbes Watson look at a map of PWAP's 16 regional districts after the project was announced in December 1933.]]

The purpose of the Public Works of Art Project was "to give work to artists by arranging to have competent representatives of the profession embellish public buildings."{{Cite web |last=Brown |first=Elizabeth |title="1934: A New Deal for Artists" |archive-url=https://web.archive.org/web/20150318002916/http://americanart.si.edu/exhibitions/archive/2009/1934/1934_forward.cfm |url=http://americanart.si.edu/exhibitions/archive/2009/1934/1934_forward.cfm |archive-date=18 March 2015 |access-date=May 1, 2022 |website=Smithsonian American Art Museum}} Artworks from the project were shown or incorporated into a variety of locations, including the White House and the House of Representatives. Artists were paid an average of $75.59 per artwork, and the PWAP used a total of $1,184,400 to pay artists for their work.{{Cite web |last=Adler |first=Jerry |date=June 2009 |title=An Exhibition of Depression-Era Paintings by Federally-Funded Artists Provides a Hopeful View of Life during Economic Travails |url=https://www.smithsonianmag.com/arts-culture/1934-the-art-of-the-new-deal-132242698/ |access-date=May 10, 2022 |website=Smithsonian Magazine}} Participants were required to be professional artists, and in total, 3,749 artists were hired, and 15,663 works were produced: 7,000 easel paintings; 700 mural projects; 750 sculptures; and 2500 works of graphic art were commissioned by the PWAP.{{Cite web |title=Public Works of Art Project |url=https://www.britannica.com/topic/Public-Works-of-Art-Project |access-date=May 10, 2022 |website=Britannica}}

The PWAP sought to produce images focused on the "American Scene", and commissioned paintings and murals that depicted "optimistic visions of America during a time of economic desperation."{{Cite journal |last=Fogel |first=Jared |date=Fall 2001 |title=The Canvas Mirror: Painting as Politics in the New Deal |journal=OAH Magazine of History |volume=16 |issue=1 |pages=17–25|doi=10.1093/maghis/16.1.17 |jstor=25163482 }} However, many artists disliked the idea of creating art that focused only on the positive aspects of living in America, as people were still experiencing dire hardships and personal tragedies from the Great Depression. This created a community of PWAP artists who aspired to create artworks depicting both the "haves" and "have nots" of America, referred to as Social Realists.

The short-lived Public Works of Art Project was a prototype for later federal art programs, including the Federal Art Project of the Works Progress Administration (WPA). Subsequent visual art programs administered by the Treasury Department were the Section of Painting and Sculpture and the Treasury Relief Art Project, both of which employed artists to decorate federal buildings throughout the U.S.

File:PWAP Regional Directors.jpg

File:Regional district map, Public Works of Art Project.jpg

The vision and advocacy of artists George Biddle and Edward Bruce are credited for the creation and management of the New Deal art programs of the United States Department of the Treasury. On May 9, 1933, Biddle wrote a letter to newly elected President Franklin D. Roosevelt proposing that the U.S. government designate funds for murals in federal buildings "to improve the quality of American life". Roosevelt arranged for him to meet with L. W. Robert Jr., Assistant Secretary of the Treasury, who was responsible for the federal building construction program. At their June meeting, Biddle learned that funds had been approved to decorate the new Department of Justice and Post Office buildings in Washington, D.C., but that Congress was reluctant to have the appropriated funds spent on art. Biddle sent a proposal to a number of government officials, as well as Eleanor Roosevelt, who shared it with FDR. They both approved of the concept, as did Robert and architect Charles Louis Borie Jr., who designed the Justice building.{{cite web |url=https://home.treasury.gov/about/history/collection/paintings/wpa-art-collection |title=WPA Art Collection |publisher=United States Department of the Treasury |access-date=February 14, 2023 }}

The proposal's greatest advocate was Ned Bruce, an artist as well as an expert on monetary policy who had joined the Treasury Department in 1932. In October 1933, Bruce had a series of gatherings at his home to discuss the possibility of government support for the visual arts. When the funding source was identified as the sticking point, Biddle and Bruce met with Secretary of the Interior Harold L. Ickes, who administered the Public Works Administration. Ickes supported the art program that was proposed, and believed it could be funded by the Federal Emergency Relief Administration, led by Harry L. Hopkins. Recognizing the value of a work-relief program for workers in the visual arts, Hopkins allocated $1 million in FERA funds to the program.

On December 11, 1933, the Public Works of Art Project was approved and announced. "The project is expected to encourage and inspire artists to depict a permanent record of the times," reported The Washington Star. The program operated under the general supervision of Robert, advised by the Advisory Committee to the Treasury on Fine Arts. This group was made up of Charles Moore, chair of the Fine Arts Commission; Assistant Secretary of Agriculture Rexford Tugwell; Henry Hopkins; Henry T. Hunt of the Federal Emergency Relief Administration of Public Works; Frederic A. Delano, director of the National Capital Planning Commission, who chaired the committee; and Bruce, who was secretary. Art critic and writer Forbes Watson (1879–1960) served as the project's technical director.{{cite news |author= |date=December 11, 1933 |title=Public Art Works Plans to Beautify Federal Buildings; 2,500 Artists to Be Employed Throughout the United States |work=The Evening Star |location=Washington, D.C. |page=1}}

PWAP was organized into 16 regional districts headed by the following administrators:{{cite book |last= |first= |url=https://babel.hathitrust.org/cgi/pt?id=mdp.39015010432469&view=1up&seq=17&skin=2021 |title=Public Works of Art Project. Report of the Assistant Director of the Treasury to Federal Emergency Relief Administrator, December 8, 1933 – June 30, 1934 |date=1934 |publisher=Government Printing Office |location=Washington, D.C. |pages=3–4 |author-link=}}

{{Cast listing|

• Region 1: Francis H. Taylor, director, Worcester Art Museum
• Region 2: Juliana R. Force, director, Whitney Museum of American Art
• Region 3: Fiske Kimball, director, Pennsylvania Museum of Art
• Region 4: Duncan Phillips, director, Phillips Memorial Gallery
• Region 5: J. J. Haverty, president, High Museum of Art
• Region 6: Ellsworth Woodward, director, Isaac Delgado Museum of Art, president of the Southern States Art League
• Region 7: Louis LaBeaume, president, City Art Museum of St. Louis
• Region 8: Homer Saint-Gaudens, director, Carnegie Institute
• Region 9: William M. Milliken, director, Cleveland Museum of Art
• Region 10: Walter S. Brewster
• Region 11: George H. Williamson, Colorado chapter president, American Institute of Architects
• Region 12: John S. Ankeney, director, Dallas Art Association
• Region 13: Jesse L. Nusbaum
• Region 14: Merle Armitage, Southern California regional director
• Region 15: Walter Heil, director, California Palace of the Legion of Honor
• Region 16: Burt Brown Barker, University of Oregon}}

File:Coit Tower Murals 210415 02.jpg

The first and largest of the projects sponsored by the PWAP were the murals in San Francisco's Coit Tower, begun in December 1933 and completed in June 1934. A total of 44 artists and assistants were employed, many of them faculty or former students of the California School of Fine Arts (CSFA). Among the lead artists were Maxine Albro, Victor Arnautoff, Jane Berlandina, Ray Bertrand, Roy Boynton, Ralph Chesse, Ben Cunningham, Rinaldo Cuneo, Harold Mallette Dean, Parker Hall, Edith Hamlin, George Albert Harris, William Hesthal, John Langley Howard, Lucien Labaudt, Gordon Langdon, Jose Moya del Pino, Otis Oldfield, Frederick E. Olmsted, Suzanne Scheuer, Ralph Stackpole, Edward Terada, Frede Vidar, Clifford Wight, and Bernard Zakheim.

After a majority of the murals were completed, the Big Strike of 1934 shut down the Pacific Coast. Though it has been claimed that allusions to the event were subversively included in the murals by some of the artists, in fact the murals were largely completed before the strike began and none of those that were not completed by that time show any reference to the strike.Masha Zakheim, Coit Tower, San Francisco: Its History and Art, 2nd edn., 2009

File:Astronomers Monument at Griffith Observatory.jpg

{{main|Astronomers Monument}}

The Astronomers Monument, commissioned by the Public Works of Art Project in 1933, sits outside of the Griffith Observatory in Los Angeles, California. The Astronomers Monument was designed by Archibald Garner, and created by Garner and five other artists.{{Cite web |title=Astronomers Monument & Sundial |url=https://griffithobservatory.org/exhibits/exterior-exhibits/astronomers-monument-sundial/ |access-date=May 10, 2022 |website=Griffith Observatory}} Each artist was responsible for sculpting one of the astronomers featured in the monument, and in total the monument features six influential astronomers: Hipparchus (about 150 BC);  Nicholas Copernicus (1473–1543); Galileo Galilei (1564–1642); Johannes Kepler (1571–1630); Isaac Newton (1642–1727); and William Herschel (1738–1822). One of the artists, George Stanley, was also the creator of the famous "Oscar" statuette presented at the Academy Awards.

On November 25, 1934, about six months prior to the opening of the Observatory, a celebration took place to mark the completion of the Astronomers Monument. The only "signature" on the Astronomers Monument is "PWAP 1934" referring to the program which funded the project and the year it was completed.

File:Entrance to Hollywood Bowl, Hollywood, Calif (70194).jpg

This Art Deco style monument serves as the gateway to the Hollywood Bowl, and is said to be the largest of hundreds of monuments in Southern California constructed during the New Deal.{{Cite web|url=https://www.lacountyarts.org/civicart/objects-1/info/199|title=Muse of Music, Dance, Drama {{!}} LA County Arts Commission|website=www.lacountyarts.org|date=10 October 2016 |language=en|access-date=2018-04-27}} The 200-foot long, 22-foot high sculpture is also a fountain and was constructed with concrete and covered with slabs of decorative granite.

The structure was completed in 1940 by George Stanley, also a contributor to the Griffith Observatory's Astronomers Monument and who is better known as the sculptor who molded the original Academy Awards' Oscar statue. The structure was refurbished in 2006.{{Cite news|url=https://www.latimes.com/archives/la-xpm-2006-jun-20-me-hollybowl20-story.html|title=Getting a Splash From the Past|last=Pool|first=Bob|date=2006-06-20|work=Los Angeles Times|access-date=2018-04-27|language=en-US|issn=0458-3035}}

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| caption1 = Ray Strong, Golden Gate Bridge (California)

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| caption2 = Charles Sheeler, Connecticut Barns (Pennsylvania)

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Golden Gate Bridge was commissioned by the Public Works of Art Project in 1934. The artist, Ray Strong, painted a depiction of the Golden Gate Bridge while it was under construction. Building the Golden Gate Bridge seemed impossible at the time it was built, due to the wind and overall complexity of the bridge design.{{Cite web |title=Golden Gate Bridge |url=https://americanart.si.edu/artwork/golden-gate-bridge-23442 |access-date=May 8, 2022}} This painting was commissioned as a tribute to the engineering and design feats undertaken during the construction of the Golden Gate Bridge. This painting represents the American Idealism art style.

This 1934 painting was not recognized as being the work of Charles Sheeler until a General Services Administration art researcher found it in an Interior Department closet in 1983. It was not known that Sheeler had been employed by the Public Works of Art Project because the artist's name had been misspelled in government records. He was paid $221.85 for Connecticut Barns. Its title distinguishes it from a similar watercolor—Connecticut Barns in Landscape—measuring 4 by 5 inches, which is thought to be a study for this oil canvas.{{cite news |last=Conroy |first=Sarah Booth |date=August 10, 1983 |title=GSA Finds Lost Sheeler Canvas| url=https://www.washingtonpost.com/archive/lifestyle/1983/08/10/gsa-finds-lost-sheeler-canvas/566e228e-fb17-4e73-89ba-9c1f8a6d193b/ |newspaper=The Washington Post |access-date=August 8, 2022}}

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File:Juan Duran SAAM-1964.1.148 1.jpg|Kenneth M. Adams, Juan Duran (New Mexico)

File:Northern Minnesota Mine SAAM-1964.1.49 1.jpg|Dewey Albinson, Northern Minnesota (Minnesota)

File:Ivan Albright, The Farmer's Kitchen, ca. 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor, 1964.1.74.jpg|Ivan Albright, The Farmer’s Kitchen (Illinois)

File:Quarry at New Hope.PNG|Bernard Badura, Quarry at New Hope (Pennsylvania)

File:Jicarilla Apache Fiesta SAAM-1985.7 1.jpg|Laverne Nelson Black, Jicarilla Apache Fiesta (New Mexico)

File:Corn Dance, Taos Pueblo SAAM-1964.1.77 1.jpg|Norman S. Chamberlain, Corn Dance, Taos Pueblo (California)

File:Aircraft No 5 by George A. Danchuk.jpg|George A. Danchuk, Aircraft No. 5 (Ohio)

File:Valley Farms SAAM-1964.1.40 1.jpg|Ross Dickinson, Valley Farms (California)

File:Industry SAAM-1964.1.92 1.jpg|Arthur Durston, Industry (California)

File:Inside a Lumber Mill SAAM-1964.1.158 1.jpg|Claire Falkenstein, Inside a Lumber Mill (California)

File:Racing SAAM-1965.18.9 1.jpg|Gerald Sargent Foster, Racing (New Jersey)

File:Clinton, Mo. SAAM-1974.28.63 1.jpg|Harry Louis Freund, Clinton, Mo. (Missouri)

File:Subway, Furedi, 1934.jpg|Lily Furedi, Subway (New York)

File:Suburban Apartments SAAM-1964.1.155 1.jpg|Lloyd Goff, Suburban Apartments (New York)

File:Alki Point Lighthouse SAAM-1974.28.154 1.jpg|Z. Vanessa Helder, Alki Point Lighthouse (Washington)

File:E MartinEEE. Martin Hennings, Homeward Bound, 1933-1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor, 1964.1.62SAAM-1964.1.62 1.jpg|Ernest Martin Hemmings, Homeward Bound (New Mexico)

File:Factory SAAM-1964.1.185 2.jpg|Louis Hirshman, The Factory (Pennsylvania)

File:Oyster Shuckers SAAM-1965.18.42 1.jpg|Catherine M. Howell, Oyster Shuckers (Louisiana)

File:Georgetown Waterfront SAAM-1974.89.5 1.jpg|Rowland Lyon, Georgetown Waterfront (Washington, D.C.)

File:Mountain Lions SAAM-1964.1.80 1.jpg|Ila Mae McAfee, Mountain Lions (New Mexico)

File:Horses at Night, Frank Mechau.jpg|Frank Mechau, Horses at Night (Colorado)

File:Storm SAAM-1966.31.14 1.jpg|Abram Molarsky, The Storm (New Jersey)

File:Timber Bucker SAAM-1965.18.35 1.jpg|Ernest Ralph Norling, The Timber Bucker (Washington)

File:Old Man River SAAM-1964.1.25 1.jpg|John T. Robertson, Old Man River (Iowa)

File:Americana (No. 2) SAAM-1964.1.23 1.jpg|William S. Schwartz, Americana (No. 2) (Illinois)

File:Parkville, Main Street SAAM-1964.1.124 1.jpg|Gale Stockwell, Parkville, Main Street (Missouri)

File:Untitled SAAM-1974.28.74 1.jpg|Elizabeth F. Summers, Untitled (Missouri)

File:Industry SAAM-1964.1.32 1.jpg|Charles W. Ward, Industry (New Jersey)

File:Santos Zingale Lynch Law 1934 oil on canvas UWM Art Collection Gift of the Works Progress Administration.jpg|Santos Zingale, Lynch Law (Wisconsin)

File:SAAM-1962.8.41 1.jpg|Anonymous, Underpass—Binghamton, New York (New York)

An exhibition of Region 14 paintings and sculptures by 100 artists was presented March 11–25, 1934, at the Los Angeles Museum. Los Angeles Times critic Arthur Millier called the show a "Southern California Renaissance".{{cite news|last=Millier|first=Arthur| title=Federal Art Exhibition on Today as Museum Reopens: Public Works Show of Paintings Sculpture Called Southland Renaissance; Two Weeks Display|newspaper=Los Angeles Times|date=1934-03-11 | page=1 | id={{ProQuest|163195140}} }} Some 300 pieces were shown; Millier mentioned the following as emblematic of the "young, vigorous, colorful, varied" product of the PWAP artists:

• CCC Workers bas relief, Donal Hord (later installed South Pasadena Junior High)
• The Law, Archibald Garner (later installed Spring Street Courthouse)
• Indian Girl, Eugenia Everett
• "Three lovely figures," Ada May Sharpless
• Decorative panels by Arthur Ames, James Redmond, William P. Everett, Conrad Buff
• Paintings by Kim Clarke of ships and railroads
• Watercolors by James Couper Wright, Joseph DeMers, Milford Zornes, and Everett L. Bryant

A report in the Los Angeles Post-Record said the show was drawing "huge crowds."{{Cite web |title=Los Angeles Evening Post-Record 12 Mar 1934, page 5 |url=https://www.newspapers.com/image/678447753/ |access-date=2023-02-22 |website=Newspapers.com |language=en}}

The Baltimore Museum of Art showed works by 30 PWAP artists from April 1–21, 1934, including a painting of the waterfront by Charles H. Walther.{{Cite web |title=Three Important Exhibitions to Open at the Museum, The Baltimore Sun 01 Apr 1934, page 56 |url=https://www.newspapers.com/image/373824709/ |access-date=2023-02-21 |website=Newspapers.com |language=en}} A second show was put on at the Maryland Institute in December 1934.{{Cite web |title=The Baltimore Sun 23 Dec 1934, page 52 |url=https://www.newspapers.com/image/373707284/ |access-date=2023-02-21 |website=Newspapers.com |language=en}}

The Cincinnati Museum of Art hosted a PWAP show April 22 to 29, 1934, including drawings of local subjects by local artist Glen Tracy.{{Cite web |title=The Cincinnati Enquirer 22 Apr 1934, page Page 51 |url=https://www.newspapers.com/image/103402149/ |access-date=2023-02-21 |website=Newspapers.com |language=en}}

{{multiple image

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| caption1 = Millard Sheets, Tenement Flats (California)

| image2 =Agnes Tait, Skating in Central Park, 1934, Smithsonian American Art Museum.jpg

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| caption2 = Agnes Tait, Skating in Central Park (New York)

| image3 =Central Park SAAM-1964.1.119 1.jpg

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| caption3 = Carl Gustaf Nelson, Central Park (New York)

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On Tuesday, April 24, 1934, FDR and First Lady Eleanor Roosevelt attended the opening of National Exhibition of Art by the Public Works of Art Project,{{Cite web |title=Public Works of Art Project articles and exhibition catalog, 1933-1934 {{!}} Archives of American Art, Smithsonian Institution |url=https://www.aaa.si.edu/collections/public-works-art-project-articles-and-exhibition-catalog-6704 |access-date=2023-02-14 |website=www.aaa.si.edu |language=en}} a Corcoran Gallery of Art show of 500 pieces created by PWAP artists.{{Cite news |last=Jewell |first=Edward Alden |date=1934-04-29 |title=THE REALM OF ART: THE PUBLIC WORKS OF ART PROJECT; IN A NATIONAL MIRROR |language=en-US |work=The New York Times |url=https://www.nytimes.com/1934/04/29/archives/the-realm-of-art-the-public-works-of-art-project-in-a-national.html |url-access=subscription |access-date=2023-02-14 |issn=0362-4331}} New York Times critic Edward Alden Jewell listed the following "smaller paintings" as those he wanted on the record as "especially successful":

• Tenement Flats by Millard Sheets
• San Pedro Harbor by Paul Starrett
• Vendue by Robert Tabor
• Old Baltimore Waterfront by Herman Maril
• Barge Dock by Erle Loran
• Old Pennsylvania Farm by {{ill|Arthur E. Cederquist|lt=A.E. Cederquist|qid=Q21481342}}
• New England House by H.A. Coon
• Spring Plowing by Helen Dickson
• Waterfront Scene by Pino Lanni
• The Young Artist by Gertrude A. Lambert
• Winter Afternoon, Central Park by Agnes Tait
• The Snow Shovelers by Jacob Getlar Smith
• Paper Workers by Douglass Crockwell
• Interior by Josephine Wupper
• The Covered Bridge by Ivan Hoon

The New York Times featured photographs of three other paintings: Central Park by Carl Gustaf Nelson, Family Quilting by Dorothea Tomlinson, and The Squall by Gerald Foster.

About half of the pieces of art from the Corcoran show became part of a traveling show. The first stop was the Museum of Modern Art in New York City, where about 150 pieces where exhibited from September 19 to October 7.{{Cite web |title=Oakland Tribune 29 Apr 1934, page Page 34 |url=https://www.newspapers.com/image/106454089/ |access-date=2023-02-22 |website=Newspapers.com |language=en}} MoMA selected Employment of Negroes in Agriculture for inclusion in their show; "Earle Richardson's lush portrayal of four black cotton workers was the sole painting by a black artist" included in the show, and the first-ever exhibition of black art at MoMA.{{Cite web |date=2019-07-17 |title=The Artist Wasn't Present: On MoMA's Fumbled First Showing of Black American Art |url=https://www.artnews.com/art-news/news/among-others-blackness-at-moma-excerpt-12972/ |access-date=2023-02-22 |website=ARTnews.com}} The Everhart Museum in Scranton, Pennsylvania hosted a further scaled-down version of this show from October 24 to 30, 1934, with an exhibit of 50 oil paintings and watercolors.{{Cite web |title=The Tribune 04 Oct 1934, page Page 10 |url=https://www.newspapers.com/image/52808270/ |access-date=2023-02-22 |website=Newspapers.com |language=en}}{{Cite web |title=Public Works Art Exhibit at Museum, The Tribune, 24 Oct 1934, page 6 |url=https://www.newspapers.com/image/527303935/ |access-date=2023-02-22 |website=Newspapers.com |language=en}}

File:Earle Richardson, Employment of Negroes in Agriculture, 1934, oil on canvas, Smithsonian American Art Museum 02.jpg, Employment of Negroes in Agriculture]]

In June 1934, the Birmingham Public Library exhibited an oil painting of the Tannehill Furnace by Carrie Hill, a portrait of John Herbert Phillips by Mrs. Effie Gibson, and had received but had yet to display five prints by "Eastern" artists.{{Cite news |date=1934-06-24 |title=Music and Art Notes |pages=27 |work=The Birmingham News |url=https://www.newspapers.com/clip/119418495/music-and-art-notes/ |access-date=2023-02-21}}

There was a PWAP show at the Herron Institute in Indiana in June 1934.{{Cite web |title=The Indianapolis Star 24 Jun 1934, page Page 52 |url=https://www.newspapers.com/image/105351680/ |access-date=2023-02-21 |website=Newspapers.com |language=en}}

The Brooklyn Museum hosted a show in October 1934 of "31 contemporary artists, featuring accessions acquired through the Public Works of Art Project."{{Cite web |title=The Brooklyn Daily Eagle 21 Oct 1934, page 30 |url=https://www.newspapers.com/image/693860258/ |access-date=2023-02-21 |website=Newspapers.com |language=en}}

The Fine Arts Society of the Wilmington City Library put on a show of local PWAP art from October 15 to 27, 1934.{{Cite web |title=The News Journal 10 Oct 1934, page 13 |url=https://www.newspapers.com/image/154238664/ |access-date=2023-02-22 |website=Newspapers.com |language=en}}

• Section of Painting and Sculpture (1934–1943)
• Treasury Relief Art Project (1935–1938)
• Federal Art Project (1935–1943)

{{reflist}}

• {{cite book |last=Contreras |first=Belisario R. |title=Tradition and Innovation in New Deal Art |location=London and Toronto |publisher=Associated University Presses |year=1983}}
• Fogel, Jared. (2001). "The Canvas Mirror: Painting as Politics in the New Deal." OAH Magazine of History. 16: 9.
• {{cite book |last=Pohl |first=Frances K. |url=http://www.thamesandhudsonusa.com/new/spring08/528715.htm |title=Framing America. A Social History of American Art |location=New York |publisher=Thames & Hudson |year=2008 |isbn=978-0-500-28715-6}}
• {{cite book |last=Contreras |first=Belisario R. |title=Tradition and Innovation in New Deal Art |location=London and Toronto |publisher=Associated University Presses |year=1983 }}
• {{cite book |title=Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project |url=https://archive.org/details/artformillionses00ocon |url-access=registration |editor-first=Francis V. |editor-last=O'Connor |location=Boston |publisher=New York Graphic Society |year=1973 |isbn=9780821204399 }}
• [https://web.archive.org/web/20110824093907/http://americanart.si.edu/exhibitions/archive/2009/1934/ "1934: A New Deal for Artists"] is an exhibition featuring artworks from the Public Works of Art Project at the Smithsonian American Art Museum. This site contains a slide show, public programs, and recent news stories
• [https://www.youtube.com/watch?v=vG4fqOaoRKs&list=PL664939D201C8C25F Public Works of Art Project], video

{{Commons category}}

• [https://www.flickr.com/photos/americanartmuseum/albums/72157613558866320/ Smithsonian Museum of American Art: PWAP paintings Flickr album]
• [https://babel.hathitrust.org/cgi/pt?id=mdp.39015010432469&view=1up&seq=5&skin=2021 Public Works of Art Project. Report of the Assistant Director of the Treasury to Federal Emergency Relief Administrator, December 8, 1933 – June 30, 1934] (HathiTrust)
• [https://livingnewdeal.org/ Living New Deal Project], a digital database of the lasting effects of the New Deal, Department of Geography, University of California, Berkeley
• [http://www.newdealartregistry.org/Home.html New Deal Art Registry]
• [https://www.incollect.com/articles/1934-a-new-deal-for-artists 1934: A New Deal for Artists], a link to Anne Prentice Wagner's article, "1934: A New Deal for Artists" in the Spring 2009 issue of ' Antiques and Fine Art magazine.
• Additional photographs of the [https://www.argcs.com/portfolio-item/coit-tower-murals/ Coit Tower murals] by Maxine Albro, Victor Arnautoff, et al.

{{New Deal visual arts programs}}

{{New Deal}}

{{DEFAULTSORT:Public Works Of Art Project}}

Category:New Deal projects of the arts

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Category:Public art in the United States

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Category:1934 in the United States

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