Question: Who were the artists that were originally desired to paint the floor wall of Rockerfeller Center?
About the article "Man at the Crossroads", section "Commission".

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Nova Color Artists Acrylic Paint was first manufactured in Culver City, California in 1965 shortly after the commercial introduction of acrylic polymer resin for paint production.
Mexican immigrant Carlos Amparan developed a line of brilliantly colored fine art acrylic paint after experimenting with this relatively new water-borne emulsion.
He and his bother Raoul began small-scale production of Nova Color and sold it at a low price to local artists.
Inexpensive and readily available, Nova Color helped fuel the explosion of the Southern California Mural Arts and Chicano Mural Arts movement in the late 1960s, 1970’s and 1980’s.
Powerful artwork was made on a large scale.
Cities began mural painting programs such as the Los Angeles Citywide Mural Project to promote community development and renewal.
Although originally designed as an artists’ easel paint, Nova Color proved to be a remarkably long lasting architectural paint for outdoor murals and decorative finishes.
Nova Color developed a loyal following among artists who loved the strong colors that were affordable.
Early Southern California murals include "Pope of Broadway" (Anthony Quinn), 1973, by Eloy Torrez; "John Muir Woods", John Muir School, 1978, by Jane Golden; "Death of a Farmworker", Chicano Park, 1979, by Michael Schnorr and Susan Yamagata; "El Nuevo Fuego" on the Victor Clothing Company building, 1985, by East Los Streetscapers; "Labor in San Diego", Centro Cultural de la Raza, 1985, September 19 by Victor Ochoa; the original painting of the "Great Wall of Los Angeles", 1976-1983.
Nova Color Artists Acrylic Paint has continued advancement in paint technology and is used internationally for murals and fine art painting.
Still located on Blackwelder Street in Culver City, CA, the neighborhood is now the Culver City Arts District where contemporary art galleries line nearby Washington and La Cienega Boulevards. 
This most imposing chamber has a length of 52 m (170 ft) and is 23 m (75 ft) broad.
It was built in 1494 by Simone del Pollaiolo, on commission of Savonarola who, replacing the Medici after their exile as the spiritual leader of the Republic, wanted it as a seat of the Grand Council ("Consiglio Maggiore") consisting of 500 members.
Later the hall was enlarged by Giorgio Vasari so that Grand Duke Cosimo I could hold his court in this chamber.
During this transformation famous (but unfinished) works were lost, including the "Battle of Cascina" by Michelangelo, and the "Battle of Anghiari" by Leonardo da Vinci.
Leonardo was commissioned in 1503 to paint one long wall with a battle scene celebrating a famous Florentine victory.
He was always trying new methods and materials and decided to mix wax into his pigments.
Leonardo had finished painting part of the wall, but it wasn't drying fast enough, so he brought in braziers stoked with hot coals to try to hurry the process.
As others watched in horror, the wax in the fresco melted under the intense heat and the colors ran down the walls to puddle on the floor.
Michelangelo never even got past making the preparatory drawings for the fresco he was supposed to paint on the opposite wall—Pope Julius II called him to Rome to paint the Sistine Chapel, and the master's sketches were destroyed by eager young artists who came to study them and took away scraps.
The surviving decorations in this hall were made between 1555 and 1572 by Giorgio Vasari and his helpers, among them Livio Agresti from Forlì.
They mark the culmination of mannerism and make this hall the showpiece of the palace.
On the walls are large and expansive frescoes that depict battles and military victories by Florence over Pisa and Siena : "The Taking of Siena" "The Conquest of Porto Ercole" "The Victory of Cosimo I at Marciano in Val di Chiana" "Defeat of the Pisans at the Tower of San Vincenzo" "Maximillian of Austria Attempts the Conquest of Leghorn" "Pisa Attacked by the Florentine Troops" The ceiling consists of 39 panels also constructed and painted by Vasari and his assistants,representing "Great Episodes from the life of Cosimo I", the quarters of the city and the city itself and towards the center is the apotheosis : "Scene of His Glorification as Grand Duke of Florence and Tuscany"On the north side of the hall, illuminated by enormous windows, is the raised stage calledthe "Udienza", built by Bartolommeo Bandinelli for Cosimo I to receive citizens and ambassadors.
Above are frescoes of historical events; among these, that of Boniface VIII receiving the ambassadors of foreign States and, seeing that were all Florentines, saying: "You Florentines are the quintessence".
In the niches are sculptures by Bandinelli: in the center the statue of the seated "Leo X" (sculpted assisted by his student Vincenzo de'Rossi), and on the right a statue of "Charles V crowned by Clement VII".
There are also numerous bombastic Medicean tapestries on the walls, including "Stories of the Life of St. John the Baptist", taken from the frescoes of Andrea del Sarto.
The six statues along the walls that represent the "Labors of Hercules" are by Vincenzo de'Rossi.
In the central niche at the south of the Hall is Michelangelo's famous marble group the "The Genius of Victory" (1533–1534), originally intended for the tomb of Julius II.
The statue was taken from the Bargello Museum. 
Beauchamp described his drawings as painterly, seeking the spontaneity in an image.
He would develop a drawing then a painting, and vice versa.
His heavily impastoed paintings, often described as sculptures themselves, came from the pouring of paint from a can, with little planning and constant evolution in the medium upon the canvas.
He preferred little planning to his creations, believing that an artists work would become stale and repetitive with constant planning.
He also created large scale works, at times 70 inches long.
Beauchamp had little intention of ever selling his large works, preferring to create them due to the slow and intense experience he received from the process.
The large drawings he created on the floor, and the smaller works were created on a table.
Paintings were created on either the floor or wall and he described his painting process as "splattering", "pushing the paint around," and sponging.
Animals often appear in his paintings, despite a dislike for domestic animals outside of his artistic creations.
He called the characters in his paintings as "Beauchamps".
Some "Beauchamps" hold meaning, with Beauchamp rarely sharing the meaning behind the symbols and characters.
He made up the creatures himself, seeking to emphasize the character of each. 
On December 7, 1988, Close felt a strange pain in his chest.
That day he was at a ceremony honoring local artists in New York City and was waiting to be called to the podium to present an award.
Close delivered his speech and then made his way across the street to Beth Israel Medical Center where he suffered a seizure which left him paralyzed from the neck down.
The cause was diagnosed as a spinal artery collapse.
He had also suffered from neuromuscular problems as a child.
Close called that day "The Event".
For months, Close was in rehab strengthening his muscles with physical therapy; he soon had slight movement in his arms and could walk, yet only for a few steps.
He has relied on a wheelchair ever since.
Close spoke candidly about the impact disability had on his life and work in the book written by Jean Kennedy Smith and George Plimpton and published by Random House.
However, Close continued to paint with a brush strapped onto his wrist with tape, creating large portraits in low-resolution grid squares created by an assistant.
Viewed from afar, these squares appear as a single, unified image which attempt photo-reality, albeit in pixelated form.
Although the paralysis restricted his ability to paint as meticulously as before, Close had, in a sense, placed artificial restrictions upon his hyperrealist approach well before the injury.
That is, he adopted materials and techniques that did not lend themselves well to achieving a photorealistic effect.
Small bits of irregular paper or inked fingerprints were used as media to achieve astoundingly realistic and interesting results.
Close proved able to create his desired effects even with the most difficult of materials to control.
Close has made a practice, over recent years, of representing artists who are similarly invested in portraiture, like Cecily Brown, Kiki Smith, Cindy Sherman, Kara Walker, and Zhang Huan. 
The Museum initiates programs that provide resources and opportunities for individual interpretation of the past and for discovering the global implications of the Cold War today.
The Museum also uses the period as a lens to explore parallels and metaphors that reflect on contemporary life, human behavior and creative expression.
The Wall Project  The Surveillance Project  Across/ the Wall  Deconstructing Perestroika In 2009, the Wende Museum commemorated the 20th anniversary of the fall of the Berlin Wall with "The Wall Project", which was called the most ambitious commemoration outside of Germany.
As part of the event, the Museum installed ten original segments of the Berlin Wall in front of 5900 Wilshire Blvd., the longest stretch of the Wall in the United States.
The original segments were paired with The Wall Across Wilshire, an artistic interpretation of the Wall painted by Shepard Fairey and graffiti artists working with ArtStorm, among other artists and the public.
As part of "The Wall Project", the Western sides of the Berlin Wall pieces were painted by LA muralist Kent Twitchell, Thierry Noir, and emerging Los Angeles artists Farrah Karapetian and Marie Astrid Gonzalez.
In addition to the new works, one of the pieces retains the original painting by Berlin street artist Bimer, who is known for his bears.
On November 13, 2011, the Museum unveiled "Behind The Wall", a component of "The Surveillance Project" that brought together street artists D*Face, RETNA, and Herakut to paint the original east facing backs of the wall pieces on Wilshire Blvd.
In 2011, as part of the Downtown Art Walk, the Museum mounted "Across/ the Wall", an exhibition on the exterior wall of a downtown Los Angeles parking garage with high resolution reproductions of Soviet era portraits.
While street artists are exhibiting in museums, this ongoing street project brings museum art onto the streets of Los Angeles.
In collaboration with the Craft and Folk Art Museum in Los Angeles, The Wende Museum mounted "Deconstructing Perestroika" from January 28-May 6, 2012.
The exhibit showcased 24 original, hand-painted poster designs created by thirteen artists as visual responses to Mikhail Gorbachev’s transformative policies of "Glasnost" and "Perestroika" in the late 1980s.
This exhibition, culled from the Museum’s Ferris Collection of 234 examples of "avtorskii plakat", examined key political and cultural shifts that defined the era and that ultimately undermined the very foundation of Soviet ideology.
In 2013, this exhibit traveled to the Natalie and James Thompson Art Gallery at San Jose State University.
In 2013, The Wende Museum contributed artifacts from their collection, including Russian vouchers, to Jeremy Deller's solo exhibition in the British Pavilion at the Venice Biennale.