Here at Form Function Art, we enjoy architectural, industrial, and automotive art and we know a truly great artist when we see one. With over 300 awards and 13 Honorary Degrees, along with a widely published written work, Cesar Pelli is one such artist. This world-renowned architect passed away last week at 92 after a lifetime of changing the horizon, both literally and figuratively.

“I see my buildings as pieces of cities, and in my designs, I try to make them into responsible and contributing citizens.”  – Cesar Pelli

From the Plains of Argentina to the Plains of the US

As a young man in Argentina, Cesar Pelli’s parents encouraged his love for reading, math, art, and construction. When the time came to choose a career path, Pelli discovered that architecture incorporated his passion for both art and history. Pelli studied at the Universidad Nacional de Tucumán for a few years, then received a nine-month fellowship at the University of Illinois at Urbana-Champaign. During this time, his wife became pregnant with their first child. Pelli then secured a spot working with one of the most prominent architects of his era. Needless to say, the United States became his home.

Saarinen’s Apprentice

Eero Saarinen is well-known for “pushing material and aesthetic boundaries”, working in both furniture and architecture. It was at Saarinen’s firm that Pelli embraced Saarinen’s emphasis on lean, unified exteriors. This deeply impacted Mr. Pelli’s view of what he described as the “skin” of his designs, for which he would later become famous.

During this time, Pelli was challenged to create something beautiful out of the necessary structural elements of the TWA Flight Center at John F. Kennedy National Airport (can we add a link to this?). The resulting gull-winged building with its flowing lines has been delighting and inspiring travelers since its completion in 1962.

After a decade at Saarinen’s firm, Pelli decided to capitalize on the “explosive growth and experimentation for builders in Southern California.” He then took a job at the architectural firm DMJM.

Trailblazing with Glass

At DMJM Pelli experienced creative freedom, although within the boundaries of time and budget. It was here that Pelli executed his experiments with different glass facades. Some of his most famous projects during this time were the Pacific Design Center, San Bernardino City Hall, and the Federal Aviation Administration Building. Each of these buildings are admired and recognized because of their mirrored glass that reflects the cityscapes around them.

Beginning in 1976, Pelli experienced a busy and exciting season. He became Dean of Yale’s school of architecture, won a commission to expand and renovate the Museum of Modern Art (MoMA) in New York City, and began his own architectural firm. While his redesign of the MoMA Building was not a universal success, it launched his firm into the commercial architecture space.

“In my opinion, a tall building has to have a crown, it has to end on something that suggests that the building is in dialogue with the sky.”

Buildings in Dialogue with the Sky

One of his firm’s most notable projects is the Petronas Towers in Kuala Lumpur, Malaysia. These dual towers, at 1,483 feet, held the title of World’s Tallest Building from 1998-2004. While he was proud of this feat, his greatest accomplishment for this project was incorporating geometric patterns and aesthetics central to Malaysia and Islamic culture. The Petronas Towers are linked by a sky bridge about 500 feet in the air. Although practical in function, the sky bridge also serves a cultural purpose. Not only does the bridge provide an extra means of egress, it also forms what seems to be a gate. In Asian cultures, this symbolizes a portal to a higher world.

“Many architects will go to other countries and design an American building, and I believe that is a mistake. One needs to respect the country or the other place, otherwise, all of our cities end up looking the same…We wanted to make a building that is looking towards the future but with roots in the past.”

In 1995, the American Institute of Architects awarded Pelli the Gold Medal for the Petronas Towers. His dedication to preserving culture and inspiring people are central to his success.

A Legacy Lives On

Upon inheriting his father’s love of architecture, Rafael Pelli began working at his father’s firm Pelli Clarke Pelli. He now leads the company forward in designing buildings that capture cultures, emotions, and the skyline. If you would like to see more of Pelli’s work, this article highlights some of his most recognizable buildings.

Add Architectural and Industrial Pieces to Your Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern industrial and architectural pieces by Raymond Loewy, Vincent Raney, and others.

The post Remembering Cesar Pelli: Coloring Skylines around the World appeared first on Form Function Art.

While Charles was a pioneer in his own right, he delighted in giving his wife, Ray, the credit she deserved for their work- “Anything I can do, Ray can do better.” Ray’s artistic ability, coupled with her “insatiable curiosity and pleasure in all manner of objects and environments”, led to her notable contributions in furniture, textiles, and architecture of the mid-century.

“What works good is better than what looks good, because what works good lasts.” – Ray Eames

Who is Ray Eames?

Born Ray Kaiser in 1912 in California, Ray was always passionate about art, ballet, and structure. She spent years studying under famous artists, from Lu Duble to Hans Hofmann. However, her mother became ill and Ray left the Hofmann studio to care for her until her death. Afterward, and at the suggestion of a friend, Ray moved to Michigan to join the Cranbrook Academy of Art. This is where she met her partner in life and in art- Charles Eames.

A Match Made in Design Heaven

As Ray began her work at Cranbrook Academy, she partnered with Charles Eames and Eero Saarinen in preparing designs for the Museum of Modern Art’s Organic Furniture Competition. The molded plywood chairs they collaborated on won 2 first prizes. Presently, these chairs are still being manufactured today by Herman Miller and are available for purchase demonstrating the timelessness of the design. Soon after, Charles and Ray married and moved to California where they continued their work.

Commissioned by the Navy

Together, the Eames would take the furniture world by storm and their designs would also aid the United States Navy. During World War II, the US Navy asked Charles and Ray to develop leg splints for injured soldiers. The old leg splints were made entirely of metal and were awkward, heavy, and expensive. However, access to resources and military technology gave the couple a chance to perfect their plywood molding technique. They were able to create truly ergonomic, lightweight, and functional shapes with this technique. Charles and Ray were later asked to create pilots’ seats and stretchers as well. Many lives were saved because of the ingenuity of the Eames.

Designing the Best for the Most

Charles Eames is quoted as once saying, “The role of the designer is that of a very good, thoughtful host anticipating the needs of his guests.” Charles and Ray epitomized this attitude in their molded plastic, fiberglass, and wood shell chairs, in addition to their wire chair. They knew what people wanted from a chair: a simple, yet comfortable form that fits any body and every place. Prominent architectural critic Esther McCoy once called their molded plywood chair “the chair of the century”.

Production of these chairs, along with many other designs by Ray and Charles Eames, was given over to Herman Miller, Inc. where they are still available today.

More than Furniture

Not only did the world of furniture design change, but Ray Eames, along with Charles, had several other ventures. True to their love of all things mid-century modern, the Eames’ California home was part of the Case Study House Program. Additionally, they also opened an experimental design studio, where they produced film, architecture, and their transformational chairs.

Unique Designs that Stand the Test of Time

Ray Eames is most well-known for the molded chairs she and Charles created for offices and homes. Her artistic flair also allowed her to dream up fun and creative children’s furniture. Her most celebrated children’s chair is in the shape of an elephant. The neat, sophisticated lines of this chair make it almost too pretty to sit on. However, this chair has only recently been enjoyed by children. Only 2 prototypes were built in 1946, and had been on display in New York’s Museum of Modern Art until 2007. In celebration of Charles’ 100^th birthday, a limited supply of these elephants were produced in plywood. Soon after, a plastic version was released and has been delighting children all over the world. Ray’s free spirit lives on in the designs that still work, and work well, to this day.

Enjoy Your Own MCM Pieces

Interested in the simplicity and functionality of mid-century modern? Find the perfect piece to begin, or add to, your own art collection, by visiting our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and many others.

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When you think of fast food, what comes to mind? More than likely, it’s McDonald’s. McDonald’s restaurants are undeniably an American classic. Travel into just about any town and you will see the familiar sign inviting you in for a burger and fries. However, McDonald’s is not only known for its food. Believe it or not, it’s also known for its architecture.

Speedee Design

In order to highlight the quick service that made McDonald’s famous, they needed a store design that would both allow for speed of service and catch the attention of hungry customers. The McDonald’s brothers hired Stanley Meson who created the original building design in 1953. Dubbed “The Red and White”, Dick McDonald felt the roof was too flat and had the iconic Golden Arches added. The Red and White design lasted for about 16 years, but some are still operational today.

The Mansard Roof

In 1969, franchisees began transitioning their restaurants over to the Mansard Roof Design. This new adaptation of the traditional Mansard Roof, in contrast to the Red and White, gave a more sophisticated feel to the restaurants. While this style of restaurant is still in existence today, it has undergone many updates since its inception. However, the Golden Arches remain only in the signage.

Upgrading and Modernizing

In recent years, McDonald’s has attempted to rebrand itself to appeal to a younger generation. From McHives to implementing sustainability initiatives, this classic American brand is making some changes for the better.

As a matter of fact, one of these changes is at the McDonald’s global flagship store in Chicago. It is getting a surprisingly modern and clean facelift. No more brown and beige textiles. Instead, Ross Barney Architects have designed this building to include “cordless phone charging, a mini-arboretum with harvestable apple trees, and 27-foot windows to keep them and the whole interior well-lit”.

It appears as though McDonald’s is going back to its mid-century roots. In addition to simplifying operations, the brand is also simplifying its architecture. Time will tell if these changes are enough to reclaim its spot as the top quick-service restaurant. In any case, these new restaurants will look good trying.

Add Industrial and Architectural Pieces to Your Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

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With each piece that I collect, I look for more than your typical mid-century modern style. I look for pieces that have the ability to speak differently to each person that views them, pieces that evoke memories. One of my favorite examples is this rendering of the Holiday Inn in Birmingham, AL.

Most everyone has stayed in a Holiday Inn, and probably while on vacation with family. While you may recognize the sign, you may not know the story behind these famous travel accommodations. There was an incredible amount of thought and ingenuity that went into creating one of the most well-known lodging companies.

A Frustrated Traveler

As Kemmons and Dorothy Wilson traveled with their 5 children in 1951, taking them from Memphis to see the monuments of Washington, DC, they encountered some incredibly frustrating lodging complications. Not only were rooms cramped and uncomfortable, but the Wilsons were charged extra for each child.

With each hotel stop on the way to DC, Kemmons became convinced that he could create something better. It was then that he decided to “reinvent the lodging industry.”

Innovating for Future Travelers

During each stay, Kemmons measured the dimensions of the rooms and took other notes on what would best serve a traveling family. While a comfortably sized room would be a must (12 x 26, with bathroom), each motel would also include a swimming pool, an ice machine, a free in-room TV, a restaurant, and a telephone. Also, there would be no additional charges for children under 12. These things would not only become standards in all of Kemmons’ motels but standards across the lodging industry.

Introducing the Holiday Inn

Named after the Bing Crosby movie, the first Holiday Inn opened in Memphis in 1952. With plans to build 3 more, Kemmons encountered a financial obstacle, causing him to rethink his business strategy. Kemmons decided to partner with Wallace Johnson, and together they decided to franchise Holiday Inns. The first franchise location opened in Clarksdale, MS in 1954. After that, the business took off and there were 2 Holiday Inns opening every week by 1962.

Innovating for the Lodging Industry

Not only did Kemmons revolutionize comfortable lodging for travel-weary families, but he also helped modernize the lodging industry as a whole. Through a partnership with IBM, Kemmons created the first centralized reservation system for the hospitality industry. Called Holidex, this allowed guests to make their own reservations. In 1995, Holiday Inn was the first hotel to let guests make their reservations online.

A Travel Mainstay for Your Collection

While the innovations are notable, the thing people remember the most about Holiday Inn is their stay. And what better way to commemorate these memories than your own, original rendering of one of the first Holiday Inns?

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

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Image Source – Danny Heller Art

In painting, light is one of the most difficult aspects to capture. Photorealism has an unbelievable way of combining color and light. This fascinating mix of photography and painting has become an interest of mine and has led me to become familiar with photorealists that combine this genre of art with my passion: Mid-Century Modern.

Danny Heller has blown me away with how his pieces are created, and how difficult it is to distinguish whether I am looking at a painting or photograph. His art concentrates on chronicling Modern American imagery, specifically focusing on the architecture, design, and car culture found throughout the nation. He has been kind enough to share his story with me, and I believe you will find it as intriguing as his art.

Eric: Where did you grow up?

Danny: I grew up in the middle of the suburbs – the San Fernando Valley (deemed “America’s Suburb”) – and I never thought much of it. I was young, so I didn’t recognize or appreciate the idea of the suburbs, the post-war boom, the style of homes and buildings around me. It was idyllic, if not a bit bland. The ever-present car culture of the Valley did start to have an influence on me though, and only later would I start to pick up on the fantastic mid-century architecture of SoCal.

Eric: What did your parents do for a living?

Danny: My dad owned his own computer business and my mom split duties, helping him out and taking care of my brother and me. I didn’t know it at the time, but I was actually learning from the small business/entrepreneur mentality that my family had.  This would aid in my success with my own business: my art.

Eric: How did you get started in the art business?

Danny: I got started by entering a group art show contest on a whim. I had been painting in the evenings after my day job, ever since I graduated from college two years prior. Not only did two of my paintings get into the show, but they both sold. After that group show, I was given a solo show, which had considerable success. One show led to another and one success led to another, giving me the confidence, as well as the financial means, to do art full time.

Eric: What was the first piece of art you purchased?

Danny: I grew up middle class and purchasing original art wasn’t really an option or a standard thing to do. However, I was obsessed with comic books – my first real exposure to artwork. Needless to say, they were a good price point and I could see a lot of fantastic drawings by collecting them.

Eric: Why did you become a photorealist artist?

Danny: When I started out, I realized that I had a slight edge over other artists if I could portray something realistically. It worked out for me because I was hoping to portray things in a way that people would recognize them and appreciate them, almost like a documentarian. I also found that photo-realistic paintings allowed the viewer to instantly enter them, and perhaps stay longer looking at them.

Eric: Did you encounter any obstacles in the creation of your business?

Danny: Yes, many! An artist never jumps into the gallery world, fully formed and in the position to set prices that they can realistically live off of. So I had to work someday jobs for years while my paintings started to sell and I became a stronger artist. And then the Great Recession hit! Talk about struggles…I was let go of my day jobs and that forced me to go full-time into my art. However, the recession caught up to my collectors years later and so I had to go back to day jobs in order to pay the bills. Thankfully that didn’t last long and things bounced back. Aside from that, there are always the administrative things I need to learn and perfect, while simultaneously focusing on my artwork and growing as an artist.

Eric: How did you land on “Modern American architecture, design & car culture” as a focus?

Danny: Like I said, I grew up in the suburbs of Los Angeles, around some great mid-century architecture and a classic car scene, however, I didn’t recognize it at the time.  When I returned home after college at UC Santa Barbara, I started picking up on the “culture” of suburbia. I would recognize the feel of it in movies like “Edward Scissor Hands” and TV shows like “The Brady Bunch.” I realized there was a visual language there that was only beginning to be explored. Eventually, I started doing paintings of the post-war tract homes around me, mixed with the classic car culture. Eventually, that lead to the more high-designed mid-century tracts like the Eichlers in my town. Once I started painting them and learning about them, I never looked back. They were so dynamic and yet understated. I really landed on something big – something that was only beginning to be appreciated and rediscovered by society at large.

Eric: Has your taste evolved over the years as an artist?

Danny: Definitely! I’m still obsessed with mid-century architecture and classic cars, however, my interests have led me to different facets of Modernism. I started out painting strictly suburban houses, but that led to the Googie architecture of the LAX Theme Building. After dipping my toes in the commercial world of Modernism, I thought a series focusing on mid-century office buildings would be interesting, which led to a show on Downtown LA’s mid-century landscape. From there, I’ve done many series on Modernism found throughout New York, as I’ve started exhibiting out there.

Eric: What do you wish you had known when you started out?

Danny: Budget your money! Seriously though, I wish my teachers had been more realistic about being an artist. Maybe telling me there’s no shame in working day jobs to support my art. Also, I wish I had known to position myself better: right now I show in three galleries in three different cities. This allows me to not over-saturate a specific market and even weather some downturns in specific regions by diversifying my locations.

Eric: Who inspires you the most in the art world?

Danny: I’m a huge fan of Josh Agle (Shag). Not only do I love his wonderful mid-century-focused artwork, but how he conducts himself and his business. He’s managed to create a whole world in his art, while still reflecting the world around him. He’s branched off into products as well, carrying over the themes and aesthetics of his paintings into three-dimensional objects that delight and inspire in the real world.

Eric: What’s your go-to meal at your favorite hometown restaurant?

Danny: Since growing up in the suburbs, my wife and I moved down to the mid-century mecca of Palm Springs. It’s great because there are some amazing mid-century restaurants that are still around – restaurants that Sinatra and the like used to frequent.  One of them with a Modern-meets-Miami flare is the Tropicale restaurant which serves the best burger in the desert. Imagine sitting in a beautiful clamshell booth, light jazz music in the background, but chowing down on a huge, messy burger. Very old-school.

Eric: What’s one thing you can’t stop talking about?

Danny: That would probably have to be Disneyland. My wife and I are fanatics! It has such an interesting history originating in mid-century American design. There are still remnants of that great mid-century aesthetic still there if you know where to look. Not to mention all of the animation had a strong impact on me growing up, which probably still affects me and my art today.

Want your own Photorealistic Painting from Danny?

If you would like to find out more about Danny and his incredible art, you can visit his website or find him on Facebook, Twitter, and Instagram.

Expand Your Own Mid-Century Modern Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

The post An Interview with Danny Heller, Owner of Danny Heller Art appeared first on Form Function Art.

While Chrysler may be most well-known for its Tank Arsenal on Van Dyke, aircraft engine plant in Detroit, and Dodge Division line of trucks, they also produced other critical assets for the troops. For example, Chrysler manufactured 15-40 man unit cookstoves and anti-submarine netting. They also created very challenging and vital processing equipment for the Manhattan Project, along with airframe components for B-29 bombers, including none other than the “Enola Gay”.

Reintroducing the Consumer Vehicle

As buyers had been deprived of new vehicles since 1942, they were ready for the newest models. Post-war families may have been looking for vehicles with comfort and durability, but some newer, flashier embellishments didn’t hurt. Enter John Chika, A.B. “Buzz” Grisinger, and Herb Weissinger. This trio of designers gave Chrysler vehicles a much-needed facelift.

Despite the fact that they were only allowed to modify the models using bolt-on modifications, they created some of the most popular and memorable Chrysler vehicles in history, along with some more modern designs that didn’t make the cut.

Extravagance without the Price Tag

The most noticeable change Chika, Grisinger, and Weissinger made was a chrome-y, cross-hatch grille. Along with this new grille was a flashy dashboard with an asymmetrical layout that stood out from the competition.

In addition, Chrysler had several other differentiating aspects.  For one, all Chrysler cars used valve-in-block engines, which produced peak power at low engine speed, providing less stress and longer engine life. These engines were superseded by overhead valve designs, but at the time provided the durability consumers were looking for. Also, all Chrysler lines (except Plymouth) offered a fluid-drive transmission, which replaced the flywheel with a fluid coupling. This fluid drive transmission drove like an automatic but was simpler, less expensive, more efficient and more reliable than the full automatics that became available in the late 1940s.

Transporting Americans through the 40s

Chrysler’s post-war vehicles were the most popular in America. From 1946-1948, over 2.2 million of these cars were built in the US, which blew past Ford. Chrysler produced 400,000 more vehicles than Ford, in less time. At the time, these cars were enormously successful. Even now, there are websites either devoted wholly or partially to each model, suggesting the popularity of these unforgettable cars is still alive and well. There is something to be said for a well-made vehicle, especially one that helped pull Americans out of wartime.

Add Automotive and Architectural Pieces to Your Collection

Interested in a John Chika original Chrysler design? Look no further than right HERE. If you are looking for the perfect automotive, architectural or industrial piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and many others.

The post John Chika: Taking Chrysler from Military Munitions Back to Motors appeared first on Form Function Art.

It is always a privilege to meet and get to know other mid-century modern art enthusiasts. David Repp and I have gotten to know each other over our shared appreciation for Raymond Loewy’s art and mid-century modern architectural pieces. Even though it was our mutual admiration of architectural art that connected us, his knowledge of the art world has been a tremendous help to me. As I am learning and growing in the art business, he has become somewhat of a mentor for which I am grateful. I believe you will appreciate getting to know him as much as I have.

Eric: Where did you grow up?

David: Cedar Rapids, Iowa

Eric: What did your parents do for a living?

David: My dad was an Electrical Engineer and my mom was a Housewife.

Eric: How did you get started in the art business?

David: I started out collecting for fun. When I began to accumulate more than I needed, I began finding other collectors and sold off some of the inventory. Once I started selling at design shows, I found myself in the business of selling art.

Eric: What was the first piece of art you purchased?

David: A rendering of the Advertising Center Building in San Francisco at Bush & Montgomery Streets in downtown San Francisco by Douglas Dacre Stone.

Eric: Why did you start an art business?

David: I enjoyed finding new art and realized that passing some of it on to other collectors was a way to prune the collection and acquire the means to obtain new material, which is always exciting.

Eric: Did you encounter any obstacles in the creation of your business?

David: No major obstacles – I had a day job to cover my costs so this was a hobby that eventually evolved into a business.

Eric: How did you land on “architects, antiques and emerging/mid-career contemporary design”?

David: When I landed in San Francisco many years ago, I interviewed for a job with a regional movie theater circuit. On the wall behind the guy interviewing me was a stunning rendering of their flagship theater in Northern California – a wonderful streamline/deco design in charcoal and that made me aware of design art. Once I had some excess time on my hands, I knew what I what to start looking for.

Eric: Has your taste evolved over the years of being in business?

David: My eye and tastes evolved to appreciate more decades and styles of design, as well as entirely different fields of design and not to just look for the obvious pieces. I learned that a quick sketch can be just as desirable as a highly polished piece, even though it took much longer to execute. Eventually, I started looking for artwork by industrial and automotive designers. Just about everything that gets built or manufactured begins as a design on paper and, given enough time to age, will become desirable art.

Eric: What do you wish you had known when you started out?

David: The names of certain designers and architects who were still alive at that point in time.

Eric: Who inspires you the most in the art world?

David: A safe answer to this would be Frank Lloyd Wright. I never had an original work on paper by him but had several artifacts, fragments and the like that I never tired of looking at. I no longer own them but look forward to the next one that crosses my path.

Eric: What’s your go-to meal at your favorite hometown restaurant?

David: Toto’s Pizza in San Bruno on the El Camino Real – ¾ baked light cheese – extra tomato sauce.

Eric: What’s one thing you can’t stop talking about?

David: Art

If you would like to find out more about David and Rediscovered Paper, you can visit his website at www.rediscoveredpaper.com.

Expand Your Own Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

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American Art Union: Making Art Appreciation Possible for Middle-Class Americans

Sometimes art can seem like it’s meant for those who are wealthy, or naturally artistic. It can feel inaccessible to the average Joe. When some folks think of art, they immediately think of the big names- Van Gogh, Degas, Picasso, Monet- names that only museums can afford. However, there is an incredible wealth of art that deserves as much appreciation, if not more, than these. James Herring believed that to be true, and decided to create a way to share the art of these unsung heroes.

Following Europe’s Lead

In 1838, James Herring founded the Apollo Gallery as a way to showcase new American art. However, to help increase the distribution of art to the public, Herring changed the Apollo Gallery into the Apollo Association for the Promotion of Fine Arts in 1839. This subscription organization was modeled after the concept of the Art Union, which had begun in Switzerland and spread across Europe. As a member of an Art Union, one was required to pay a small membership fee in exchange for the chance to own and view new works of art. In 1840, Herring and the Apollo Association broke ties. The Apollo Association then adopted a name change to reflect its new identity- the American Art Union.

Subscribing to American Art

As a paying member of the American Art Union (AAU), one would receive a very large annual report, along with a copy of at least one engraving, specially commissioned for the members. There were 36 engravings commissioned and were the reason the AAU was so popular. Also, members would receive an entry into a lottery drawing for a work of art already purchased by the AAU. Some of these paintings were large, historical works, but most were smaller landscapes or genre pieces.

Art for All

The AAU maintained the belief held by George Godwin, co-founder of the Art Union of London, that art should be universally accessible to all. Through this belief, the AAU operated as a “Perpetual Free Gallery”, allowing members to enter the gallery for free and non-members to enter at a nominal charge.

The Big Impact on 19th Century American Art

By operating in this fashion, the AAU dominated the New York art market in the 1840s. In 1840, the AAU had 686 subscriptions, and by 1849, they had 19,000. Many of America’s premier artists sold large numbers of paintings to the AAU, giving them the recognition they desired. Quite a few of the engravings based off of these paintings still exist today.

In 1853, the AAU disbanded after a lengthy legal dispute with the International Art Union. Unfortunately, the AAU had become a victim of their own success, not realizing they had mistaken popularity for sustainability. However, this brief alliance between the artistic elite and the middle class brought a renewed appreciation for American art and gave many new artists a chance to shine.

Add to Your Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

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In 1933, the American economy was in utter turmoil. The Great Depression was raging after the stock market crash of 1929, and close to 25% of Americans were unemployed. When President Franklin D. Roosevelt took office, he immediately set to work. Roosevelt’s administration created “The New Deal” which developed programs to stabilize the nation, provide jobs, and supply relief for those who were suffering.

Created on May 6th, 1935, the Works Progress Administration (WPA) was one such program that provided reprieve for American citizens. This program particularly piqued my interest because it included artists. Artists aren’t usually the first to benefit from unemployment plans. Thankfully, politicians like Harry Hopkins believed that everyone should be included in The New Deal programs. In Hopkins’ words, “Hell, they’ve got to eat just like other people!”

Reviving the Economy through Public Works of Art

Not long after the WPA began, the Public Works of Art Project (PWAP) was up and running. As a division of the WPA, the PWAP produced pieces of art for government buildings across the country. These pieces were created by 3,749 artists, who not only had to wait in long lines outside government buildings but had to prove they were, indeed, professional artists. They were to be held to the same standards of public value and production as those performing physical labor. In order to be hired, each artist had to pass a test, giving them a ranking of “Level One Artist, Level Two Artist, or Laborer.”

After only 4 months, the artists had created 15,663 paintings, murals, prints, crafts and sculptures, netting a pretty nice income- a total of $1,184,000, or $75.59 per piece. Eventually, the PWAP dissolved and was replaced by the Federal Art Project (FAP).

Keeping the Luminaries Going

The FAP was a little more selective about who was hired to produce art. In fact, you may recognize a couple of the artists that created pieces for the FAP, namely Jackson Pollock and Mark Rothko. This particular program had a significantly bigger reach than the PWAP, employing over 5,000 artists and producing more than 225,000 pieces of art for the American people.

A Legacy that Inspires

Because of mismanagement and the ramping up of wartime employment, the Work Projects Administration was dissolved in 1943. While some of the art from that time is still around today, many pieces have been lost or stolen. The remaining few are now under the regulation of the General Services Administration (GSA). Most remain in the hands of private collectors, but some can be seen in government buildings or galleries across the country. If you’d like to visit a collection of WPA art, the Treasury Department has a wonderful compilation.

Even though the WPA had its critics, it also had its supporters. There is no denying the fact that it provided our nation with beautiful artwork, but also economic relief for the American people.

Add to Your Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

The post The New Deal: Artists Have To Eat Too appeared first on Form Function Art.