Evening star., 1942-10-04
Mural Paintings
And Sculpture in
Federal Buildings
By Florence S. Bergman.


the press, protected by the armed
might of the United States. The
four freedoms" are represented by
groups of figures, which are clearly
defined but not sharply separated
they merge sufficiently to keep the
unity of the composition. This por-
ton of the mural is painted in soft
colors-tans, earth red, gray blues
and green's, white and buff. At
either end of the panel is group
of soldiers with various types OF
weapons, painted in colors Chiefly
browns) of deeper tonality. Across
the top of the mural is flight OF
eagles and airplanes symbolism
and fact.
Federal Trade Commission
Sculpture.
Every one who has been to the
National Gallery of Art this sum-
mer must have observed across Con-
stitution avenue two massive stone
sculpture groups on either side Of
the terrace in front of the Federal
Trade Commission Building. They
constitute the largest sculpture
commission yet awarded in the Sec
tons program and were completed
early in the summer by Sculptor
Michael Lantz. Each group is COM
posed Of powerful work horse be-
Ing controlled by vigorous, mus
cular arm; the sculptor was success
ful In representing tremendous force
strongly held in check. Each group
rs II feet long, ~ wide and approx
imately IS feet high and required
the installation of 80 tons Of lime
stone. The groups were carved by
Jacob Schwalb of this city, under
Mr.. Lantz's supervision.
This commission was awarded four
years ago, at which time the sculp-
tor was only 80 years old. He was
one of 247 American sculptors who
participated in national. anony-
NOUS open competition. He is a
native of New Rochelle, N. Y, stud
led at the National Academy of De-
sign and the Beaux Arts Institute
In New York City.
Social Security
Murals.
Two murals designed and executed
by Seymour Fogel for the Inde-
pendence avenue lobby of the Social
Security Building were completed
the middle of September under aus
pices of the Section of Fine Arts.
They illustrate primarily the aims
and objectives OF social security and
also emphasize what we are fighting
for and with: Security of the
People" and wealth of the Nation
The first mentioned, to the right
upon entering the lobby, depicts an
American family group, OF which
the mother and a young child are
the central figures, with two older
children to the right, and a man
reading contentedly at a table at
the left. The group is shown in a
sunny outdoor setting against a
background suggestive of model
housing and recreational facilities.
The panel on the left depicts
Americas national wealth in terms
of science, industry and labor. The
central figures here are a worker
at switch and an architect kneel-
ing in the foreground, to represent
as Mr.. Fogel explained it, "a happy
blending of brain and brawn.' Two
wheels flanking this central group
"are suggestive of our countrys in
dustrial might" Figures of a sci
enlist at the left and two laborers
at the right complete the symbolic
group. Lines of bodies, construc-
ton and equipment in each panel
also serve to draw the observers eye
easily from one part of the painting
to another, thus unifying them. The
forms are simplified naturalism with
a predominantly angular character
Each panel measures 10 by IA feet
and is executed in fresco secco. The
colors are deep-toned earth red
blue. gray, browns and green's;
brown and blue predominant in the
general effect. Unfortunately the
murals suffer from their location
The figures are over life-size, yet
are seen close to eye-level in the
low-ceilinged lobby. A rallied in
closure to the left of the entrance
forces the visitor to observe one
mural from distance OF only few
feet, while the other has an OBJ
struction the artist certainly coulo
not have foreseen. A large bulletin
board In a harsh blue (antagonistit
to the mural's colorS directing
visitors to some room IN the build
Ing, completely hides about Il
square feet OF the Happy Family.
When these paintings were viewee
last Monday an inquiry to the door
keeper elected the information thai
the bulletin board was "perma.
nently located" 1t is a pity thai
the efforts of the Government!
Section of Fine Arts to decorate the
walls Of new buildings with paint.
ings by living American artist!
should be thus nullified by thu
thoughtless actions Of employees.
Mr.. Fogel was born in New York
City In 1911. studied at the Art
Students League and the National
Academy Of Design. He is primarily
interested in painting the Ameri-
can scene and has travelled exten.
sively throughout the United States
sketching and painting. He under
took mural painting under Diego
Rivera: but few observers would SCI
any particular influence Of the Mex
lean muralist in Mr.. Fogels work
He has painted wall decorations ir
the Abraham Lincoln High School
New York City: in the Cambridge
minnesota Post once, and ir
the Federal Building Of Stafford
AriZ