Public Art in Public Places: Santa Barbara Muralists in the New Deal Era by Santa Barbara Historical Museum

NOTICIAS Quarterly Magazine Of The Santa Barbara Historical Society Vol. XU, No. 3

Aucumn 1995

i^UBLic Art Public Places

n the lute nineteenth centwy, d suj;nijicdnt colony oj talented artists began to develop in Seinta Barbara. By u):^o, Santa Barbara had become the most impwiant art center betiveen San b'rancisco and Los Angeles. Ihe onset of the Qreat Depression in 1930

opened a neiv chapter in the

ofSanta Barbaras aitists’colony. Among the myniad ofpub

lic works and relief projects begun /n' the federal government under the leadership ofPresident L'ranklin I\oosevelt, zeere a number of programs aimed specifically at easing the financial hardships of those working in the fine arts. One of the outstanding Jeaiures oj these programs was the emphasis on the pwduction of an, commissioned mth public funds, to be placed in public buildings and spacesfor the enjoy ment oj all, ivith a special emphasis on the art oj mural decoration. Patneia Cleek details the role that Santa Barbara artists, especially muralists, played during the Neiv Deal era. A'luch oj the zvor!{ these artists produced continues to beautijy Santa Barbara and cities and toums across the nation, 'file author ivishes to thank the followingjor their assistance: T^lrs. Campbell Cjrant, Jo seph Knoivles, Jr., l^onald Crogier at the Santa Barbara A'luseum of An, Qaiy Breitiveiser, James Annstnmg,andAdr. andAdrs. Paid Julian. Sadly, Pauljidian passed aivay this Sep tember. Front cover photograph is a detail oj the mural executed by Cjordon Cjrant jor the U.S. postojficein Ventura, Calijoniia. Photograph is courtesy of Adrs. Campbell Cp'ant. Illustrations on backcover and on page 66 arcjrom the bool{, Sanca Barbara, A Guide to chc Channel City and Its Environs, compiled and ivritten fry the Southern Calijbmia Writ ers’ Project oj the Works Progress y\dministration. Life dates of Santa Barbara artists involved in Ahav Deal pivgrams are given when knoivn. y\ll photographs arejrom the collection of the Santa Barbara Idistorical Society, un less othenvise noted.

INFORMATION FOR CONTRIBUTORS: NOTICIAS is a quarterly journal devoted to the study of the history oi Santa Barbara County. Contributions of articles arc welcome. Those au thors whose articles are accepted ior publication will receive ten gratis copies of the issue in which their article appears. Further copies are available to chc contributor at cost. The authority in matters ol style is chc UmversiLy of Chicago A'lanual of Style, ii,th edition. The Publications Committee reserves chc right to return submitted manuscripts lor required changes. Scaccmcncs and opinions expressed in articles arc the sole responsibility ol chc author.

Michael Redmon, Editor Judy Sutcliffe, Designer

Sanca Barbara Historical Society

136 E. De la Guerra Street. Sanca Barbara, California 93101 ● Telephone: S05/966-1601 Single copies $5.00 ISSN 0581-5916

I^AnzA Bar|5aka Mui^Uscs m the I\ew JDeAl ^1^ Patricia Gardner Cleek Patricia CUek.has previously writ' ten a number of articles on Santa Barbara artists and craftsmenfor NOnClAS.She has been a docc7it for many years at the Santa Barbam Aluseum ofArt and the Santa Bar' bora Historical Society,as xvell as an intewieiverin the latier’s Oral History Program.

IncRobuccion: After his inauguration ear ly in March of 1933. rranklin Delano Roosevelt quickly went to work on his New Deal programs to 45

NOTICIAS

enable recovery from the Great Depres sion. When Congress adjourned in the middle of June, the first legislative phase of the New Deal had come to an end.

federal programs which would subsidize artists.

Much had been accomplished during Pres ident Roosevelt’s first one hundred days in office, as he guided bills through Con gress and launched programs in agricultu ral and industrial rehabilitation, in conservation reforcstation, and regional

wrote the president in 1933 to suggest a government-sponsored mural program to decorate the new Department of Justice building. Biddle’s letter was passed on to Edward Bruce, who had come with his

development. One of his last achieve ments in June was signing the National Industrial Recovery Act. which included a public works program. This public works program had been proposed earlier, but due to the need for careful planning, got off to a slow start. In November, Roosevelt created the Civil Works Administration(CWA)with Har ry Hopkins as administrator. The aim was to create short-term employment opportu nities on small public works projects in both the white collar and manual labor fields. Artists were also suffering from unem ployment. Both the president and Hop kins were in sympathy with artist advo cates. As a result, the Public Works of Art Project, the first government program for the arts, was set up early in December of 1933 with funding allocated by the CWA. The Treasury Department admin istered the program and selected artists to create paintings, sculpture, prints, wood carvings, and murals. They were to be paid the same rate as skilled craftsmen working for the CWA. Almost immedi ately. some 2,500 artists were put to work decorating public buildings. Between the end of 1933 and 1943 there were to be five

ILLUSTRATIOT^ on PRECEDINQ PACjE:Detailfiwn Campbell Qrant’s mural at Santa Barbara High School. The mural is still extant. From the collection of the author.

It was the artist George Biddle, an old schoolmate of Roosevelt’s, who first

wife to Washington in 1932 and had be gun working at the Department of the Treasury as an expert on silver. Bruce was a man of many talents, hav ing been a lawyer, banker, businessman, and artist. It was he who quickly orga nized this first support program for artists with the idea of dividing the country into regions, each with a chairman and adviso ry committee. After organizing this first program, in 1934 Bruce headed the Sec tion of Fine Arts under the Department of the Treasury, which commissioned art for federal buildings, particularly murals and sculpture, through a series of anonymous competitions. Edward Bruce was born in Dover Plains. New York. He graduated from Co lumbia University in 1901 and three years later received his law degree. In 1909. he married Margaret Stow, daughter of Sher man Stow of Goleta. He had met her in New York through her brother, Sherman Stow, Jr., who had been one of Bruce’s closest friends in college. The Bruces rare ly visited their Goleta relatives, as they lived for many years in the Philippines, China, and later in Italy. Initially, arc was a hobby for Bruce as he pursued careers in banking and business in New York and Asia. In 1921, at the age of forty-two, he retired to devote himself CO painting. He studied arc for several years in Italy with his friend Maurice Sterne. In 1925 and 1927, he exhibited in New York and his canvases were collected

THE NEW DEAL MORALISTS

47 scenes of San Francisco, Carmel. San Luis Obispo, and Goleta, In March 1931, he exhibited these works at the Gump Galler ies in San Francisco and at the Casa de la Guerra in downtown Santa Barbara. Although Bruce showed landscapes of France and Italy, his landscapes of Cali fornia and particularly those painted in the vicinity of Carmel, where he had spent the winter, received the most atten tion. John Gamble, a prominent Santa Barbara artist known for his California landscapes, praised Bruce’s works, citing their "sincerity, simplicity, solidity and

Edward Bruce,ca. 1935. Bruce was a inajorfigure in the artprograins sponsored by the Treasu ry Department.Photograph courtesy of the Santa Barbara Museum of Arc Library.

by such notables as Duncan Phillips, founder of the Phillips Gallery in Wash ington, D.C.. and Ralph Pulitzer. Bruce held his first one-man show in Paris in 1929 and had a work purchased by the French government, as well as receiving an Honorable Mention at the Carnegie In ternational. In 1930. he traveled to San Francisco to execute a mural for the board room of the new San Francisco Stock Exchange. Decoration in the building included work of other artists, most notably that of the famous Mexican muralist. Diego Rivera, who came to San Francisco to paint his first works in the United States. This col laborative experience in California very likely impressed Bruce with the possibili ties of embellishing public buildings. While he worked on his mural in San Francisco and then afterwards, Bruce spent time painting landscapes, including

restraint.’’! J{rt Digest commented that his California pictures were painted in the "full flush of the pleasure which the scene gives the Easterner. They are more enthuscdly California than California artists are capable of painting."2 On one occasion, Bruce spoke to mem bers of the Santa Barbara art colony at a dinner in El Paseo, discussing "the possi bility of a renaissance of art in America.”3 Perhaps this was the germ for his scheme of government-sponsored art that he pre sented two years later to Roosevelt in Wa.shington, D.C. When he left Santa Barbara, his plans were to explore the Sierra Nevada Range and to paint in the old mining towns for several months before continuing on to Oregon for the rest of the summer. For a year or more, he had experienced many regions of California and had become ac quainted with what their artists were pro ducing. Upon his arrival in Washington. D.C.. in 1932. Bruce would become a auiding light for federal art programs for almost a decade. At their Washington home, the Bruces entertained a stimulating mix of politicians, administrators, journalists, and writers. According to their friend. Olin Dows, the Bruces were a "vital pair”;

NOTICIAS

TV^rs. Bruce, handsome,outspok,en,strong,al most a pioneer type: Bruce, heavy, humorous, loving to tease amiably, enjoying ideas, throwing them out by the dozens and draw ing themfrom others: both ofthem warm,gen erous, and }{indA

Sive iSahcA I5ARl5AieA ^i^nscs

jk >

By the end of 1938. Hve Sanca Barbara arrises had been sclccccd for the Public Works of Arc Project. They included Douglass Parshall (1899-1990), who was appointed to the project sub-committee under music impresario Merle Armicage of Los Angeles, who was the southern Cali fornia chairman. Subject matter was limit ed to the American scene. Mural and fres co painters were requested "to execute panels 5x8 feet, moveable, and applicable CO public buildings and schools."5 The art ists were to receive craftsman wages of twenty-five to forty-five dollars a week. Parshall was an appropriate choice as local director. He had been trained as a boy CO draw and paint by his artist father, De Witt Parshall. Ac the age of fifteen, Douglass had a work shown at the Na tional Academy of Design in New York. At twenty-five, he was awarded the sec ond Hallgarcen Prize for a marine painting in the exhibition ot the National Academy of Design. In 1927, Parshall, still only in his lace twenties, became an Associate Ac ademician (ANA), quite an honor for such a young artist. The following year saw him working with Albert Herter. a major figure in Santa Barbara's arc colony, paint ing a large mural for a movie cheater in Los Angeles.6 Four ocher local artists were also ac cepted into the project. The only woman was Lyla Marshall Harcoff (1883-1956), who was born in Indiana and had studied

52**««wi**, ● 1^:

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'i ' Douglass Parshall, ig88. Hesupaviseda number offederal art programsfor the Santa Barbara region in the 1930s. Photograph courtesy of James Armstrong.

arc at Purdue University. She then spent two years studying at the Arc Institute of Chicago. After completing her training there, she received a painting commission from the officials of the Sanca Fe Rail road. who had seen some of her sketches of the American Southwest. They sent her to paint scenes in the Hopi country in Arizona and for several months she lived in a small village on Second Mesa.7 It was here she executed the oil. Moonlight on Mishongnvi, which was purchased by the Sanca Fe in April 1914 for its collection of southwestern art.^ Harcoff then left for France, where she studied at the Academie Moderne and the Ecole de la Grand Chaumicrc in Paris, until she was forced to re turn due to the outbreak of World War I. Subsequently, she did designing for

THE NEW DEAL MURALISTS

Marshall Field and Co, in Chicago and lat

as well as in San Diego.iO In 1929, his

er moved to Los Angeles to design for a firm there. In 1927. she exhibited decora

and black shawl was hung in a corridor of

painting of a Spanish girl in a red dress

tive panels at the Santa Barbara Arc

the new Santa Barbara County Court'

League at the Casa de la Guerra, when she came to reside

house. A few months later, another paint ing, "a life-size re production of one

here.9 She helped to

organize

and

lExljibUtnn in iHpntnrtant

Gallery

in 1932. A year later, when the Santa Art

AUcm Qdie^ Q^iam ^eJt^440A*f. /, ffS6 ■ Mo4f 22, 1947

paintings, entitled Fiesta Florsemen of Santa Barbara,

Association

was loaned by Caroline Hazard

Joseph Knowles as chairman, she

decorate

the

courchousc.il

was elected vice-

Cram

president. other

especially

three local artists the

the was

presented there. Still another of his

Barbara

The

Old West”

was formed with

typical

cowboys

became managing director of the Balcony

the

became known

for his images of the American

PWAP

were Allan Cram (1886 - 1947),

West. Although there is no men

James

tion of his mural

Cooper

Wright (19061969), and Camp bell Grant (1909-

work

$eaitle Ant

PWAP.

Voitmieen. PaiJz

the Cram

had two paintings and one draw

Seaiiie,

1992). Allan Gil bert Cram arrived in Santa Barbara

for

ing

which

very

likely were ex-

1923

Allan Cram became especially knaivn for his desert scaies and sceites of the Ajnerican West. Catalogue

Boston, Massachusetts.

courtesy of the Santa Barbara County Courthouse Docent Council.

chat period and selected to be

early from

He had studied at the Art Students’ League in New York, as well as with W^illiam Merritt Chase, and

hibited

"owned United States Government."12

during

the

He also executed a painting of architect

had formerly worked with the architectu ral firm of Goodhue and Cram in New

costume in the courtyard of a "downtown

Lutah Maria Riggs dressed in a Spanish

York. Upon his arrival in Santa Barbara,

cafeteria.”12 This painting was hung in

he was characterized as an impressionist

the Santa Barbara County Courthouse

painter, known for his use of brilliant col

with other paintings with a Fiesta theme

or. In January 1924, he exhibited his land

scapes at the Los Angeles Library Gallery,

would suggest that the canvas was paint-

1946.

Riggs’

youthful

appearance

cd in the early 1930s. shortly after her as sociation with architect George Washing ton Smith had ended and she had launched a successful solo career. This painting now hangs in the Carriage and Western Art Museum in Santa Barbara. Before World War II, Allan Cram moved with his fami ly to Seattle, Washington, where he died in 1947. The Seattle Art Museum later that year held a memorial exhibition, to which a number of Santa Barbarans loaned canvases. James Cooper Wright first came to Ventura in 1930 from Scotland to visit rel atives. Wright had graduated with honors from the Edinburgh College of Art in 1928, He was a designer of stained glass windows and had been a designer for a section at the International Exhibition of Hygiene in Dresden, Germany. Upon his arrival in the U.S.. he worked for a short time at the judson glass firm in Los An geles. Upon his arrival in Santa Barbara, he became associated with Mary Wcsselhoeft, an instructor in color theory and painting at the Santa Barbara School of the Arts since 1925. She also worked in stained glass and had designed windows in New York. London, and Kansas City, as well as several windows in Santa Barbara. In July 1930, she was creating the rose glass window for the new Unitarian Church.il Wesselhoeft was the sister of Mrs. Ralph Hoffmann, whose husband was director of the Santa Barbara Mu seum of Natural History. Wesselhoeft and Wright joined to gether as designers and craftsmen in "leaded glass and glass in composition set ting” in one of the studios of the Santa Barbara School of the Arcs on East Canon Perdido Street.i5 They exhibited locally and in museums throughout California. In late January of 1931, they exhibited their work in stained glass at the school’s Gar¬

NOTICIAS den Studio on Santa Barbara Street under the auspices of the Community Arcs As sociation’s Plans and Planting Branch.16 During the summer of 1932, the pair ex hibited watercolors at the Palace of the Legion of Honor in San Francisco and glass work in that city’s M. H. de Young Memorial Museum,17 In lace 1933, when the glass workshop closed due to the fi nancial difficulties of the School of the Arts. Wesselhoeft and Wright moved to a studio in the La Placita Building on State Street. Alexander Archipenko, a modern Eu ropean artist who had moved to the Unit ed States, came to the West Coast in 1932 on a lecture tour. In June of the fol lowing year, he visited Santa Barbara be fore continuing on to Mills College in Oakland, where he caught painting and sculpture for the summer session. James Cooper Wright was fortunate to receive a scholarship to study with Archipenko there. This opportunity may have influ enced Wright’s own bold and modern painting style. A number of Wright’s paintings, along with those of the other participants, were sent to schools to decorate class rooms. Nineteen of his watercolors were shown in the first PWAP exhibition for the southern California region held in March 1934 at the Los Angeles Museum, termed a "Southland Renaissance" by Los Angeles Times art critic, Arthur Millicr.16 He singled out Wright’s watercolors as outstanding. Five of Wright’s paintings were chosen to be sent to the major exhi bition at the Corcoran Gallery of Arc in the nation’s capital. In 1935, Wright painted watercolors for the Works Progress Administration’s (WPA) newly-launched Federal Art Pro ject (FAP). He left Santa Barbara in Sep tember of 1937 to open a studio in Holly-

THE NEW DEAL MURALISTS

1934 to work for Walt Disney Studios. At the age of twenty-four, Grant was the youngest participant in the federal art pro gram here. His art show early in 1933 at the Santa Barbara Public Library had re ceived much praise from John Gamble, known as the "dean of the Santa Barbara '20

art colony. A little over a month after being ac cepted in the program, in January 1934, Grant and his brother. Gordon, also an

Campbell Qrant,after a successful career as an aTtist, turned author. His book,The Rock Paintings of the Chumasli, is considered a classic in thefield.Photograph courtesy of Mrs. Campbell Grant-

wood, one month after the Federal Art Project closed in Santa Barbara, In 1939, he accepted a position teaching art at the University of Georgia in Athens, Georgia. He later returned to the Los Angeles area to teach at Occidental College and the Otis Art Institute and was associated with Pasadena City College for over twenty years. As a member of the California Watercolor Society and the American Watercolor Society, he remained a versa tile and important artist in this medium throughout his life. In 1928, Campbell Grant had come from the California School of Arts and Crafts in Oakland to accept a scholarship at the Santa Barbara School of the Arts and. after completing his studies, had stayed on here until he left in the fall of

artist, were working on mural designs. Campbell was working on a scene of a ’49er’s camp, a sketch for a possible mural on gold mining in California, It was a pro ject he never developed.21 Part of the purpose of the PWAP was to hold exhibitions to show the public what was being accomplished. In April 1934, Campbell Grant had several works in a project exhibit at the Faulkner Memo rial Gallery at Santa Barbara’s public li brary, including his gold mining work. It was commended for having "a touch of Grant's ironic humor." but criticized for being "more of an illustration than a mu ral panel."22 A short time later, he had a painting accepted from this regional dis trict to be hung in the Corcoran Gallery of Art in Washington, D.C.23 Sometime in 1934, Campbell Grant painted two murals dealing with the histo ry of the New World, directly on the wall inside the entrance to Santa Barbara High School. On one side was a large pic torial map of North America, while on the other side was a corresponding map of South America. Each map is flanked on one side by the figure of a European ex plorer and on the other side by an Indian. In 1980, these murals were cleaned and restored by Nathan Zakheim, an expert in art restoration and a graduate of Santa Barbara High School. Zakheim was also responsible for the restoration of the mu-

NOTICIAS

0Bd

Late in 193^, Douglass Parshall executed a mural in a "classical iTwod"for Santa Barbara Junior High School, a portion ofivhich is shozvn here. From the collection of the author. Photograph by William B. Dewey,

rals by Howard Warshaw and Channing Peake in the Santa Barbara Public Library. Zakheim's father, Bernhard, had partici pated in the WPA art project in San Fran cisco.24

Another artist who spent time in Santa Barbara was the older brother of Campbell Grant, Gordon Kenneth Grant (19081940). He also had studied at the Califor nia School of Arts and Crafts and had

Douglass Parshall completed his mural for the library at Santa Barbara Junior High School in December 1934. His was the last work executed locally for the PWAP. Tlic mural represented "various phases of athletics with seven or eight life-size figures engaged in track and field events, such as the discus throw, the shot

studied architecture at the University of California, Berkeley. William Colville, an artist who grew up in Montecito, recalls caking private arc lessons from Campbell Grant and occasionally from Gordon Grant in 1932-3 when the brothers were

put. and pole vaulting.”25 During the 1930s. Parshall was known not only for his society portraits, but for his figures in a "classical mood.” that is, composed with a sense of serene harmony. The figures in this mural arc drawn in this mood, which also characterized the figures in his beach scene paintings of the same period.

staying at the Montecito estate of a fami ly friend.26 Probably while visiting Camp bell. Gordon also met Albert Herter, paint er and muralist, who habitually hired young artists to assist him on his mural projects. In 1932, Gordon worked with Herter painting six murals at Wellesley College and then proceeded to assist Al bert Hewlett on murals for the city hall in the Bronx in New York Cicy.22

THE NEW DEAL MURALISTS

Qotxlon Qrant wasfascinated by Native Americaji cidtures. Photograph courtesy of Mrs. Campbell Grant.

Native Americans of the region. Unforcunaccly, the whereabouts of these pieces is presently unknown. Returning to Santa Barbara in the sum mer of 1935. Grant showed as a "new comer” in an art show at the Faulkner Memorial Gallery. He displayed a mural decoration on board in oil emulsion tem pera of Indians performing the buffalo dance. This may have been a study for his Santa Fe commission. That same year, he exhibited designs based on Na tive American art at a show in the Grand Central Galleries in New York City in a competition for the Fnx de Kpme fellow ship and received praise in an article by the Neiv Yorf Times art critic. After Gordon Grant’s great enthusiasm was the use of Native American themes for his art. When he visited a Colorado ranch as a boy, he became enchanted with the Indi ans' songs and dances. He continued to take every opportunity to visit reserva tions to observe traditional festivals and ceremonial dances, which he would then

wards. his work was to be shipped to Washington. D.C., probably to be sub mitted for a federal mural compctition.29

The SebeRAl Krc PRojecc

or the xnxK

to assist him in his metal workshop from September 1935 to March 1940. Ac cording to Colville. Steedman also fi nanced Grant’s trip to the American Southwest to study Native American sil ver craft and design. Grant became a tal ented silversmith, producing a number of fine pieces. Wliile in Santa Fc, New Mexico, Gor don Grant was commissioned to do a sc

The Federal Art Project (FAP) was launched in 1935 under the auspices of the WPA. This was the largest of the federal art projects and lasted from 1935 until mid-1943. It employed artists to teach and also to produce paintings, murals, sculpture, prints, and posters, as well as employing people in the fields of drama, writing, and music.30 Early in 1936, Douglass Parshall was again named dis trict supervisor for three counties in southern California, due to his acquain tance with Nelson Partridge, Jr., who oversaw the project for all of California.

ries of murals for the art museum, dealing with the history of the area before New Mexico became a state and featuring the

The Santa Barbara Morning Press noted. "The project will include oil and watercolor paintings, mural sketches, etc., to be

interpret into his own work. George Steedman. owner of the Montccito estate Casa del Herrero, hired Grant

NOTICIAS

One o/ three Iwietles which Lyla Haivojfdesigtied for Santa Yjiez High School. She spent time at the ranch ojDivightTHwphy,sheichingpaloiyiinns. From the collcccion of the author.

used in state and county buildings, includ ing schools and courthouses . . . .”^1 Parshall would later speak of his experi ence as director, "Most persons didn’t want the job. There was no remuneration for it." He praised the artists working on the project for what they accomplished: The artists were extremely cooperative. The cost ofthe work ihey produced was vc}-\ little in proponion to the aesthetic value involved. If I recall rightly, each artist received about $ya month and wasfimished material. I remem' ber that James Cooper Wright,for instance, conscientiously tUToied out three watercolors a week- When you think what a fine painter Wright is, you can see we were getting these watercolors extremely cheap. 7he schools and federal buildings benefited by a lot oj good painting. I thinkwe went through 6o schools that were bare of anything, but perhaps a re production ojan Abraham Lincoln p07l.rait or

of the Coliseum at Epme. The schools were happy to get what we had to offer. We all midled around and did the best we could. 1 think I was on that job about two 32 years. The Faulkner Memorial Gallery held an exhibition of works from the Federal Art Project in July 1936. In her review, Verne Linderman found the works "softtoned and peaceful in spirit" as compared to the "strident though fresh Public Works Art Project show of a year and more ago." She considered the present show more "decorative and poetic" and less of the realistic "local scene.”33 The highlight of the exhibition was Lyla Marshall Harcoff’s designs for three lunettes, murals set in a curved space, for Santa Ynez High School. Linderman com plimented the artist for use of warm color and design.

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NOTICIAS

che Sanca Barbara School of chc Arts. In 1935, he received an honorable mention at chc Academy of Western Painters exhibit at che Los Angeles Museum and that same year cook a first prize at an exhibition of che Sanca Cruz Art League. A year after his first mural commission, he assisted Stanley Edwards in painting murals with a Persian theme in chc lounge of chc Sa markand Hotel in Sanca Barbara, shortly after Alma dc Brcccville Spreckcls had pur chased the former boys’ school and trans formed it into a hotel. It appears that shortly after this, Vaughan largely aban doned his arc career; there is no record of his exhibiting in any major shows. Joseph Knowles (1907-1980), a former scholarship student at che Sanca Barbara School of chc Arts, designed the second mural. He showed in his lunette such "peacetime pursuits’’ as men working in factories and plowing che fields, as well as a representation of a family group, In 1941. Knowles began work on a ewency-fooc wide mural depicting pioneers and covered wagons for the Sanca Maria Pub lic Library, but chc project was never completed, probably due to lack of funding.35 He returned to mural design in 1959 and executed six mosaic panels on che history of California transportation for a Safeway supermarket on chc corner of Victoria and Chapala streets in Sanca Barbara. A year later, he completed two mosaic panels for Sanca Barbara Bank and Trust on California history. Both murals are still extant. night classes at chc Sanca Barbara School Paul JuLiAn (19x4-1005)

of chc Arts, studying with Bclmorc Brown, Charles Paine, and his mother, Es

Another young artist who participated in the mural program of the FAP in Sanca Barbara was Paul Julian. He came to Sanca Barbara as boy with his parents in 1922. Beginning at chc age of thirteen, he cook

ther Julian, who herself had studied at the School. After his graduation from high school in 1933, Julian studied at the Chouinard School of Arc in Los Angeles as a scholarship student until 1936. That

THB NEW DEAL MURALISTS

year, he took a first prize at the California State Fair, In July 1937, Julian was working on a FAP commission to paint a mural at Santa Barbara General Hospital, located at Caile Real and San Antonio Road. The mural. in a large hall above three archways, de picted a group of young people enjoying a

Paul Julian based his mural, Picnic on the

Cliff, on his boyhood manoncs ojSanta Barbai-a'sMesa.From the collection of the au thor Photograph by William B. Dewey.

NOTICIAS )

Joseph E.KnoivUs in his Santa Barbara studio, late 1930S. Phocograph courccsy of Joseph Knowles, Jr.

Picnic on the Clijf. He used oil pigments mixed with beeswax, which prevented the paint from drying with a gloss, Julian later said, "The cliff was real . . . my brother and I had wandered all over the Mesa in the late Twenties before there were houses on it.”^6 That same summer he had an exhibi tion at the gallery of the Art and Frame Shop, where he exhibited not only the ma rine scenes for which he had previously re ceived acclaim, but paintings of figures in which he experimented with more com plex composition, similar to that found in the hospital mural. Julian also did some illustration for fairy tales at this time for the Children's Ward at the General Hospital. This work has apparently disappeared. He also de¬

signed large, half-scale drawings for the National Guard Armory on East Canon Perdido Street, but lack of funding pre vented their execution.

IPosc Ornce MuijaLs In 1936. the U.S. Treasury Depart ment awarded contracts for murals for the post offices in Santa Barbara and Ventu ra. Twenty-three-year-old William Os born Atkinson {1913- )from Los Angeles won the competition over forty-six other contestants for the Santa Barbara com mission. Like Paul Julian, he had been a scholarship student at the Chouinard School of Art. This was his first commis sion. In only three months. Atkinson exe-

THE NEW DEAL MURALISTS

cutcd six bas-reliefs depicting the history of mail transportation, beginning with the Pony Express and ending with the modern period of the railroad and airplane. An im portant feature of the panels was "the ap pearance of having been carved directly out of the wall plaster. The panels carved in white harmonize with the white walls. . . . The shadow effects of light and dark brought out in relief by the young artist . . . [is] the characteristic of the panels which aided Atkinson in winning the award, it was reported."^7 These panels are an ex ample of the streamlined niodeme or art deco style of the 1930s. Gordon Grant received the commission to paint the mural for the Ventura post office in late October 1936. The subject matter was Ventura County industries and included farming, dairies, oil process ing, and the harvesting and packing of cit rus. Studies for this series, including de tails, were presented in Art in Federal Buildings—Aiural Designs, by Edward Bruce and Forbes Watson, direc tors of the Treasury Department Art Pro ject (TRAP). This program arranged for decoration for all federal buildings. The mural is oil on canvas with simplified shapes and color areas. Completed in 1937, it was restored in 1966. The mural is listed on the Federal Register of Fine Arts and is a City of Ventura Historical Landmark. Grant also worked on a mural for the post office in Alhambra, California. Un fortunately. it appears to no longer be ex tant. In October 1938. Grant received a commission to design a mural for the post office in the small central Texas town of Brady. Tliis was the result of his impres sive sketches he had submitted in the com

with a group of Indians on horseback in the background. Grant motored from San ta Barbara to Brady to install the mural in May 1939.39 Joe De Yong (1894-1975), another San ta Barbara artist, was a runner-up in the Dallas terminal annex competition. As a result, he was asked to paint a mural for the post office in Gatesville, another small town in central Texas. He signed the con tract and began work in his Santa Barbara studio in December 1938. Installation was scheduled for April of 1940.^0 De Yong had taken up art under famed cowboy artist Charles Russell in the lat ter’s Montana studio in 1916 and remained there almost ten years as Russell's protege. Russell then encouraged De Yong to come to study at the Santa Barbara School of the Arts, where Russell's good friend, Ed Borcin. taught. In 1925, De Yong arrived as a scholarship student to take a course in bronze casting. A decade later, he became a technical advisor concerning Indians for Cecil B. DeMillc's production. The Plainsman. He continued to work for DcMille and other producers on such films as Union Pacific.

GDbe ^nb op the SebeRAl Projgcc m SAncA I3ARtJARA The Santa Barbara TJeivs-Press report ed in August 1937 that there had been a recent cut in the Federal Art Project fund ing. Douglass Parshall was "being relieved of his duties," although the program would continue under Samuel Rivas, a man not of the art community, and Buckley MacGurrin, an artist from Los An

petition for the terminal annex for the

geles, acting in a advisory capacity. At that time there were ten artists on the re

post office in Dallas. The mural depicted a pioneer family with their covered wagons.

lief rolls in Santa Barbara, each receiving seventy-seven dollars a month for a twen-

NOTICIAS

ty-hour work week. They included por trait painters, a wood carver (very likely David Swanson, who did a large walnut panel for Santa Ynez High School), and a sculptor, Helen Scegert, project sculptor, who had taught modeling at the Santa Barbara School of the Arts from 1929 to 1933. executed the fountain for the resto ration of La Purisima Mission near Lom 41

poc. In October 1937, a Federal Art Project show opened at the gallery of the Santa Barbara Chamber of Commerce at 14 East Carrillo Street. It included works by Paul Julian; other, lesser-known local artists; as well as works by artists from San Diego and San Francisco. Mediums included

year. 434 murals had been completed throughout the country and 55 others were in progress. He also emphasized that a large proportion of the murals were being produced by young artists.

IPauI JuLiati’s ILacck C^oveunmenc MuraLs While Paul Julian was still living in Santa Barbara, he took part in an assign ment from Buckley McGurrin on a project planned by Stanton MacDonald-Wright, MacDonald-Wright was designing an enormous tile decoration for a large build ing in Santa Monica. The work was sub contracted out to several FAP artists.

oils, watercolors, lithographs, and one piece of sculpture.

McGurrin assigned Julian a small panel us ing unglazcd tile, which Julian then turned over to others in Santa Barbara, Julian,

I\ew Mosaic(Dechmque

with the FAP winding down in Santa Bar bara and seeing that there was more mural work in Los Angeles, moved there in 1939. His first FAP assignment there was to execute four lO’xlO.5' panels for the out side walls of the new auditorium at Up land Elementary School. Julian did these in MacDonald-Wright's new pctrachrome medium. The design was traced onto mas onite board and then outlined with small

Stanton MacDonald-Wright, an im portant American artist who had partici pated in the modern art movement in Par is in the early teens, headed the southern California FAP and later became the state director. It was he who invented the new mosaic technique of petrachrome. used in the decoration of buildings out-of-doors. He also designed a large number of mosa ics in southern California, the largest of which was for the Long Beach Municipal Auditorium (1936-38), which required for ty workers to cut and mount the over whelming number of tesserae or small mo saic pieces. Lorscr Fcitelson, instructor at the Art Center School of Los Angeles, was supervisor of the mural and easel division of the Project. Roger Cahill was director of the na tionwide Federal Art Project. He pointed out in an article for Architectural Record in September 1937 that for the first

strips of plasticine, which created a "dike” for each color area. A separate matrix of colored cement with colored gravels was then mixed for each part. Mixing the colors required great skill, Tliere were approximately twenty-four different colors of ground marble used, as well as ground abalone shells, moonstones gathered at the beach, and even petrified wood. The cement and aggregate were poured into each mold between the strips of plasticine and allowed to set before con tinuing on to the next area. After the whole was completed and backed with

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Joe De Yong, after studying xvich Charles Russell, went on toforge a natiojial reputation os an artist ofthe American West.

more cement, it was ground down to a beautifully polished surface. The only drawback to the medium was that the col ors were pale and the design had to be simplified. Julian recalled chat the murals were ex ecuted in a rented storefront, with the help of a seven or eight member studio crew. After completion, the murals were trans ferred to the school and hung.43 The first panel depicted three Indians, two of them making an arrowhead. The second panel dealt with two padres direct ing neophytes in the building of a mission. In the third scene, pioneers draw water

from a well, as a young boy dangles a liz ard CO add a humorous nocc. The fourth panel shows an orange picker and two men packing the fruit. The first and last panel have tree motifs in the background to unify the whole. Soon after completing this project. Ju lian had another show of his waccrcolors at the Arc and Frame gallery on East Car rillo Street in Santa Barbara, which in cluded a lunette of the panel of the orange pickers.44 This occurred just after Julian was represented in an exhibition assem bled by Fcitelson at the Los Angeles Mu seum. Julian was also the only Santa Bar-

NOTICIAS

Paul Julian was one ofthe few artists to zvork,in the difficult petrachrorne rnediurn. He ivas the son ofEstherJulian, an instructor at the Santa Barbara School ofthe Arts. Photograpli courtesy of Mrs. Paul Ju

lian.

bara artist represented in the Frontiers of American Art, an exhibition of the Federal Art Project at the M.H, dc Young Memo rial Museum in San Francisco,45 Towards the end of 1939. Julian obtained a full-time job doing backgrounds for Leon Schlesingcr’s Silly Symphony color cartoons, fore runner of Warner Brothers' Metric Melodies animated shorts. In the spring of 1940, Julian married Consuelo Cheever, whose father. Walter, taught art at Santa Barbara State College. Consuelo had studied art at Mills College in Oakland under Ralph Stackpolc. An outstanding painter, muralist, and sculp tor, Stackpolc was a member of both the federal and San Francisco art commis¬

sions and had been responsible for bring ing Diego Rivera to San Francisco to paint murals in 1930. At Stackpole’s urg ing. Julian entered his designs in the com petition for the mural for the Rincon post office annex of San Francisco. He was the only California artist to receive an honorable mention in the competi tion.46 As a result of this honor, the Treasury Department awarded him a commission to paint a mural for the Fullerton post of fice in late 1941. He again chose the sub ject of orange pickers for the central pan el, executed in oil on canvas. Similar to his Upland panel. Julian filled out this panel with additional figures. The colors were

THE NEW DEAL MURALISTS

warm and mellow. He completed the work in 1942.

doncRovcRsy Oven A iSwue Gordon Newell, superintendent for sculpture for the Federal Art Project in southern California, offered Santa Barbara two works of sculpture late in 1938. The two proposed sculptors were Donal Hord (1902-1966) and Archibald Lorain Garner (1904-1969). both of whom had drawn praise by the art critic of the Los Angeles Times for their work in the first Federal Art Exhibition at the Los Angeles Mu seum in 1934.47 Garner was a pupil of Ralph Stackpolc at the San Francisco Art Institute. Stackpole exhibited his own work at both the Pan-Pacific International Exposition in 1915 and the Golden Gate International Exposition in 1939. Garner’s proposed forty-foot-high stat ue became a source of public comment and controversy. The Santa Barbara NeivsPress fueled the dispute by publishing pho tographs of more traditional statues in the area, including a number that graced the Old Mission. In contrast. Garner’s statue was a streamlined art deco piece, character ized as a "sweet Egyptian girl.” Douglass Parshall seemed to be the only local artist who liked the work and he found himself pitted against the likes of Ed Borein, John Gamble, and his own father. Dc Witt Par-

shall.48

IPeAt^L C(bAse dnbAPPy Pearl Chase, one of the leaders of the city's beautification movement, was par ticularly adverse to the statue, saying that "Santa Barbara needs no statues to en hance its beauty. . , . Such a statue is out

oi harmony wich the Bird Refuge [the proposed site] which should be developed along naturalistic lines.”49 She urged the matter be referred to the park board, which evidently agreed with her. The statue was rejected. Donal Hord, the other proposed sculp tor, came from San Diego in 1926 to study at the Santa Barbara School of the Arts on scholarship and he studied model ing and bronze casting with Archibald Dawson.-"^0 During this period he did a dozen documented bronze pieces, several with Indian figures, as well as two relief panels in wood.-"^! He also executed a basrelief frieze of Chumash Indians which was placed above the arched entrance to the auditorium of Santa Barbara State College. The piece remains in place today on what is now the Riviera Theater, After three years of study on traveling scholarships to Mexico and Philadelphia, he returned to San Diego in 1930. In 1933 he was employed by the Public Works of Art Project as a sculptor. Among his bestknown works during this period was his statue of an Aztec Indian placed at San Diego State College. He was working on a commission for a fountain statue for the San Diego Civic Center, when the Santa Barbara offer arose. Proposed was a fourteen-foot-high statue of a Chumash Indian in red granite to be placed in front of the entrance to Santa Barbara High School.52 The statue was put forward by the local committee, headed by Douglass Parshall and John Gamble, who were of the opinion that Hord was at that time "the leading sculp tor of California.” The two appeared be fore the Santa Barbara School Board, which delayed a decision until funds for the project became available, which never took place.53 Santa Barbara lost the op-

NOTICIAS

John Qamble,the "dean ofthe Santa Barbara art col ony,"in a portrait by Samuel Edson Vaughan.

portunity to obtain pieces by two of Cali fornia’s finest sculptors of chat period.

cbe I\ew DcaL After 1939, there were no more federal mural commissions in the Santa Barbara area. Douglass Parshall was designated lo cal district chairman for the 1939 New York World's Fair, as well as the Golden

exhibitions on several occasions. Parshall also showed paintings in shows across the nation and his work is in the permanent collections of many American museums. In 1974, the Santa Barbara Museum of Art gave Parshall a retrospective exhibi tion which showcased his long career in painting from 1890 to 1974. In 1940, Gordon Grant died in an un

Gate International Exposition on Treasure Island in San Francisco.54 After the Santa

timely accident at the age of thirty. The following year, the Santa Barbara Mu seum of Art held an exhibition of his

Barbara Museum of Arc opened in 1941. Parshall and Lyla Harcoff held one-person

paintings, sculptures, and etchings, Don ald Bear, the museum director, designated

THE NEW DEAL MURALISTS

as "outstanding” the decorative studies in secco of various dances of the Pueblo Indi ans and the imposing working drawings in black and white. These latter were for the

early sixties, died while vacationing in Florida. His innovative reign as head of the Section of Fine Arcs for the Department of the Treasury had come to an end.

murals for the Ventura post office and for other public buildings.55 Campbell Grant worked for Walt Dis ney Studios from 1934 to 1946. He worked as an animator on various scenes with the dwarves in Snow White and the

Before Bruce, the awarding offederal art commissions was run pretty much as a gentle man s club, with what you know countingfor less than whom you know. Bruce broke this "noblesse oblige’’system...57

Seven Dwarfs, the cat in Pinocchio. and one sequence in Fantasia. Grant then re turned to Santa Barbara and began illus trating Qolden Books for children, before launching into extensive research for his book, Rpek Paintings of the Chumash, and related items. Murals at the Goleta Public Library and the city halls of Carpintcria and Ventura all feature motifs from Grant’s groundbreaking work on Chumash rock art. After his time with Schlesinger. Paul Ju lian moved on to Friz Freicng’s animation studio at Warner Brothers in 1941 and worked on Bugs Bunny and other cartoons until he left the studio in 1945,56 Por the next seven years, he did layout and back grounds for United Productions of Ameri ca, which won an Oscar in 1951 for an ani mated film featuring abstract backgrounds. Julian also had several exhibitions of paint ings in Beverly Hills and at the Santa Bar bara Museum of Arc. Joseph Knowles was known not only for his mural work, but also developed a reputation as a fine watercolorist. He had a one-man show in 1943 at the Palace of the Legion of Honor in San Francisco. Ocher one-man shows followed in the later 1940s at the Santa Barbara Museum of Art and the M. H. dc Young Memorial Museum in San Francisco. In January, 1943. Edward Bruce, in his

Bruce started anonymous open compe titions for each federal commission, for which any artist in the country was eligi ble. A jury of artists in Washington, D.C.. selected the winners. As a result, many young artists were "discovered" through their winning of commissions which helped establish their reputations. Arthur Millier wrote in the Los Angeles Times that "the vision and political tenacity of Ed ward Bruce was the biggest single contri bution CO the current 'renaissance' of Amerlean arc.”58 Of An ^KA In mid-1943. the WPA Federal Arc Project and the Treasury Department Arc Project ended, sacrificed to the increasing demands of the U.S. war effort. The fed eral art programs of the New Deal era had achieved wonders in a period of eco nomic difficulties. Tens of thousands of artists had been employed and for many, highly successful careers were launched with this federal sponsorship. Cities and towns across the nation were beautified with public arc. Lastly, these New Deal programs did much to revive the arc of mural decoration in this country, the visi ble results of which may still be enjoyed today.

NOTICIAS

I\OOD® 1, Santa Barbara News-Press, 15 March 1943, 2. Art Digest. 1 March 1931, 13. 3. TAoming Press(Santa Barbara). 19 March 1931. 4. Olin Dows,TheNewDeal’s Treasury Art Programs,ATAemoir(Madison; University of Wisconsin. 1964?), 6. 5. Morning Press(Santa Barbara), 22 De cember 1933. 6. Morning Press(Santa Barbara), 25 March 1928.

11. Morning Press(Santa Barbara), 25 May 1932. 12, Who s Who in American Art, Volume I (Washington, D.C.; American Federa tion of Arts. 1935), 102. 13. SantaBarbaraNeivs-Press, 4 August 1943. 14. Morning Press(Santa Barbara), 26 July 1930, 15. Santa Barbara California City Directo ry 1932(Los Angeles; Santa Barbara Directory Co.. 1931). 462.

7. SantaBarbaraNewS'Press, 14 Novem ber 1943.

16. Morning Press(Santa Barbara), 31 Jan uary 1931.

8. Paul Bcnescck, Curator of the Santa Fc

17. Morning Press(Santa Barbara). 30 July 1932.

Collection of Southwestern Art, tele phone conversation with author, June 1995. 9. Morning Press(Santa Barbara), 10 May 1927. 10. Morning Press(Santa Barbara), 20 Janu ary 1924,

18, Lx)S Angeles Times, 19 March 1934. 19. Pasadena Star'News, 31 December 1969. 20. Morning Press(Santa Barbara), 4 Janu ary 1933. 21. Campbell Grant. Interview. 4 June

THE NEW DEAL MURALISTS 1965. Collection of the Archives of American Art. The Smithsonian Insti tution. 22. Morning Press(Santa Barbara). 21 April 1934. 23. Morning Press(Santa Barbara), 1 May 1934. 24. Santa Barbara News-Press, 18 January 1948. 25. Morning Press(Santa Barbara), 12 De cember 1934. 26. William T. Colville. Interview by Pa tricia G. deck. 27 July 1994. Santa Barbara Historical Society. 27. Morning Press(Santa Barbara). 14 Janu ary 1934. 28. David F. Myrick, conversation with au

1939. 40. Santa Barbara News-Press, 2 De cember 1938, 41. SantaBarbaraNewS'Press, 17 Au gust 1937. 42. SantaBarbaraNewS'Press, 19 Oc tober 1937. 43. Paul Julian. Letter to author. 20 Feb ruary 1993, 44. Santa Barbara News-Press, 12 No vember 1939. 45. Thomas C. Parker in Frontiers of American Art - WPA Federal Art Project.(San Francisco: M. H. de Young Memorial Museum. 1939). 87. 46. Julian letter. 20 February 1993,

29. Morning Press(Santa Barbara), 23 May 1935.

47. Los Angeles Times, 11 March 1934. 48. SantaBarbaraNewS'Press,9 Octo ber 1938.

30. Nancy Dustin Wall Moure. Painting

49. Ibid.

thor. 9 September 1995.

and Scidpture in Los Angeles, igoo(Los Angeles: Los Angeles County Museum of Art. 1980). 44. 31. Morning Press(Santa Barbara). 9 Feb ruary 1936, 32. Santa Barbara News-Press, 1 June 1952. 33. Morning Press(Santa Barbara). 7 July 1936. 34, Afommg Press(Santa Barbara). 31 Janu ary 1937. 35. Santa Barbara News'Press,6 April 1941. 36. Paul Julian. Letter to author. 4 February 1993. 37, Momiing Press(Santa Barbara), 24 Janu ary 1937. 38. SantaBarbaraNews-Press, 13 October 1938. 39. SantaBarbaraNewS'Press, 21 May

50. Dorothy C. Miller, cd., Americans i g^i:i8 Artistsfrom 8States,(New York: Museum of Modern Art, 1942), 69. 51. Bruce Kamerling, "Like the An cients: The Art of Donal Hord,” 'The Journal ofSan Diego Flistory, Summer 1985, 197-199. 52. Santa Barbara News-Press, 12 Oc tober 1938. 53. Santa Barbara News-Press, 12 Feb ruary 1939. v54. Santa Barbara News-Press, 11, 14 October 1938. 55, Santa Barbara News-Press, 7 De cember 1941. 56. Santa Barbara News-Press, 20 May 1945. 57. Art Digest, 1 February 1943. 16. 58, Art Digest, 5 December 1939, 3.

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SANTA BARBARA HISTORICAL SOCIETY BOARD OF TRUSTEES Richard Glenn Jo Bcch Van Gcldercn . Lani Meanlcy Collins . Jean Goodrich Warren Pullman Miller Peter Brown Foster Campbell Marilyn B. Chandler Barbara Cleveland Dan Cross George E. Brakes

President . . First Vice President Second Vice President Secretary Treasurer

Neal Graffy Lawrence Hammett Robert G. Hansen

Jane Mueller Jack Overall John Pitman Barbara Robinson Ruth Scollin

John W.Hunt C. Scybert Kinsell Thad MacMillan

Cicely Whcclon

George M. Anderjack. Executive Director

MAJOR CONTRIBUTORS-1995 COLLECTORS SERIES The Santa Barbara Historical Society wishes to thank and to acknowledge with pride the follow ing members and institutions for their most generous contributions to the 1995 Collectors Series;

PATRONS