Art of the Great Depression 

On October 29th, 1929, Wall Street traded some 16 million shares in one day, causing a catastrophic event that sent the industrialized world into economic chaos. Meanwhile, people had been migrating west, establishing farms in the grasslands, and naively churning up the land with shallow root systems in areas where rainfall was scarce. Shortly after the stock market crash, dust storms began to arise in the Midwest, resulting in further loss of homes and livelihoods. These hardships impacted millions of people, giving rise to the Great Depression. President Hoover, who was in office at the time, struggled to respond effectively to the crisis. However, when Franklin D. Roosevelt won the next election by a landslide, he began implementing the New Deal —a series of policies to combat economic devastation and rebuild America by creating jobs for its citizens.  One significant component of the New Deal was the Works Progress Administration (WPA), which focused on rebuilding America’s infrastructure. As part of this effort, the Federal Arts Project (FAP) was established, hiring artists, actors, and musicians to create for public spaces. These artists produced a diverse range of works, from portrayals of the ideal society they envisioned to harsh living conditions faced by many people on a daily basis. In these next few pieces, survival and activism prevail from the hardships and destruction portrayed.

Elizabeth Olds, Bootleg Mining, Pennsylvania 1936, lithograph, Reba and Dave Williams Collection, Gift of Reba and Dave Williams, 2008.115.3787 National Gallery of Art 

Elizabeth Olds was an American artist born in Minneapolis. She received her education in Minneapolis, New York, and Paris. She benefited from being employed by the Federal Public Works of Art Project, where she helped document the Great Depression in Omaha, Nebraska. And later, from 1935 until the early 1940s, she worked for the Works Progress Administration’s Federal Art Project in New York, where she and fellow artist Harry Gottlieb focused on themes of industrialization and miners.

In this lithograph, we see coal miners digging for coal from the piles outside the chutes. During the Great Depression, the demand for coal decreased significantly, leading to the closure of many coal mines and the loss of jobs for coal miners. As job opportunities dwindled, miners often resorted to digging up coal from abandoned mines and selling it on the market to survive.

The space in the artwork is small, and the tight diagonal lines of the machine belt draw our eyes up and down the piece to many aspects of this piece. Tension is created by the pull of the belt, as well as the unusual outstretched angle of the man digging in the lower corner. His arms are strained as he forces his shovel into the coal pile. This energy is accentuated by the contrast of light and dark, which heightens the dramatic tension. Additionally, a contrast in texture is seen, some areas feature smooth, smudged patches that enhance the shine of the buckets or deepen the shadows in the corners, defining the strong forms of the structure.

In contrast, in other areas we find sketch marks and scratches, creating movement and shadows, such as the man in the upper corner. He appears to be struggling to open a window. The erratic lines seem almost dynamic, illustrating his effort. The struggle for survival seems to emerge from this small, energetic dark image. I appreciate this piece primarily for its historical significance. It serves as a reminder of the challenges we sometimes face in our quest for survival.

Alexandre Hogue, Crucified land 1939 oil on canvas 41 31/4 in x 59 7/8 in Gilcrease Museum, Oklahoma

Halfway across America, a different kind of loss was occurring. People had migrated West in hopes of starting a new life, believing that wherever they farmed, rain would follow. They were successful in farming lush farmland with minimal demand on the land. What they didn’t understand was that the grasslands had shallow roots. The invention of the tractor plow allowed them to till their fields faster and deeper. With increasing demand for agricultural products, the land was overused due to excessive tilling and grazing. Combined with droughts, this led to a point where the land dried up and ceased yielding crops.

The colors were what first grabbed my attention in this piece. The bright rust-colored earth contrasts sharply with the greens of the landscape. The round contours of the eroding land draw our gaze towards the background, where the skeleton of a tractor and a farmhouse stand against the purples and blues of the sky. In the distance, an oncoming storm suggests further devastation for this farmland. I found the scarecrow particularly fascinating; it symbolizes the crucifixion cross. It appears ready to tip over, and with the approaching storm, we may soon witness its final moments.

There is a striking contrast of textures: the once-lush, yielding earth versus the zigzagging ditches carved by water erosion. The water snakes through the farm, creating a small "v" pattern representing ripples, with long, thick winding lines of orange, gray, and light brown where the water washes the earth away. This painting, created in 1939 near the end of the Dust Bowl, illustrates the malpractice of farming techniques that were prevalent at the time. The jagged lines made by the water cutting through the farm introduce a sense of chaos amid the otherwise soft contours of the farm rows.

It was interesting to learn that Alexander Hogue grew up farming in Texas and witnessed the destructive practices harming the farmlands. He was supported by the Federal Arts Program and painted murals on the post office buildings in Dallas and Graham, Texas. Between 1933 and 1936, he painted a series called the Erosion Series in Texas. This series, along with other artists' depictions of the devastation caused by poor farming practices, alarmed the government and raised awareness about the widespread damage.  

This painting evokes feelings of loss, sadness, and, honestly, anger at the degradation of the land. However, I also appreciate it for its symbolism and activism. Coming from a family that had to leave the heartland during this challenging time resonates with me and serves as a reminder of my resilient heritage.

Jacob Lawrence Migration Series panel 49: They Found Discrimination in the North. It was a Different Kind. c.1940 and 1941 casein tempera on hardboard 18 x12 ½ in Phillips Collection

While there was a migration of displaced families leaving the heartland, there had already been a significant migration of African Americans from the South that began around 1915. Many individuals, initially men, eventually brought their families along, all hoping to find a better way of life in the Northern cities. Although this painting primarily focuses on that great migration, it’s important to note that the Great Depression impacted African American communities far more severely and for a longer duration than white communities.

Many African American men and some women found employment at the start of the migration, though it often came with the lowest wages. However, when the economy crashed, everyone lost their jobs, and African Americans were frequently the first to be let go. During this time, the migration slowed because of the lack of employment opportunities. 

Jacob Lawrence created this immense series when he was 23. He was a child of parents who migrated North to New Jersey during the Great Migration. The Harlem Renaissance was happening during his teens, and he was able to take classes at the Utopia Children's Center through the Federal Art Project. He was in the perfect environment and supportive art community, and at 23, he was able to showcase the Migration series for the first time.

I find this piece compelling because it illustrates the imbalance between the white and African American populations in the cities and highlights the scarcity of jobs. The gold rope in the painting creates a stark division, with more African Americans dining at the tables than whites. This could symbolize that jobs were offered to whites and white European immigrants before they were given to African Americans.

The lines in the painting are bold and sharp, and there is a lot of empty space, conveying a sense of scarcity and simplicity. Yet the bold lines and forms suggest an enduring, hidden strength, a strength and motivation to survive. The colors are predominantly gray and drab, with the gold rope being the only bright element. Although we cannot see the individuals’ details, Lawrence effectively portrays their attitudes through the angles and sizes of their bodies. The gold rope draws the viewer's eyes across the canvas in a back-and-forth motion, and we begin with the top individual leaning over his plate in a defeated manner.  Across the rope, a white man looks up and away from the African Americans, almost refusing to look behind him, while on the other side, we see what appears to be a young couple dining together. Another white man reading the newspaper holds it tightly, his large hands exuding a sense of anger, and his dark brow is furrowed. Finally, a woman sits alone, hunched over at an odd angle, suggesting she may be elderly. This painting is desolate and filled with contrasts and subtle divisions, much like the discrimination encountered in the North.

Despite the subtle discrimination faced by African Americans, the impact on employment and income was clear. During this period, grassroots organizations initiated boycotts against businesses that refused to hire African Americans. This marked the beginning of African American activism, which would later evolve into the Civil Rights Movement.

This period in history is one of my favorites. I chose each of these art pieces because they highlight the challenges and hardships brought about by the Great Depression. The innovation and determination to endure and survive each day, not knowing what the next will bring, is truly inspiring.

citations

“The Art of the Great Depression.” The Metropolitan Museum of Art, 18 September 2023, https://www.metmuseum.org/perspectives/the-art-of-the-great-depression Accessed 4 November 2024.

Bryson, Bernarda, et al. “Art and the Great Depression.” National Gallery of Art, https://www.nga.gov/learn/teachers/lessons-activities/uncovering-america/great-depression.html Accessed 4 November 2024.

Hogue, Alexandre. Crucified Land. 01.2000. 1939. Tulsa: Gilcrease Museum, https://collections.gilcrease.org/object/012000(09/13/2019) .Accessed 4 November 2024.

Laura F. Fry and Dr. Steven Zucker, Alexandre Hogue, Crucified Land, in Smarthistory, September 12, 2022, accessed November 1, 2024, https://smarthistory.org/alexandre-hogue-crucified-land/

The Migration Series, Panel no. 49: They found discrimination in the North. It was a different kind. The Phillips Collection,https://www.phillipscollection.org/collection/migration-series-panel-no-49-they-found-discrimination-north-it-was-different-kindAccessed 4 November 2024.

Dr. Steven Zucker and Dr. Beth Harris, Jacob Lawrence, The Migration Series, in Smarthistory, August 9, 2015, accessed November 1, 2024,https://smarthistory.org/jacob-lawrence-the-migration-series/

Klein, Christopher. Last Hired, First Fired: How the Great Depression Affected African Americans | HISTORY, 18 April 2018, https://www.history.com/news/last-hired-first-fired-how-the-great-depression-affected-african-americans Accessed 4 November 2024.

Richman, Kelly. “Exploring 'The Migration Series' By Jacob Lawrence.” My Modern Met, 11 February 2020, https://mymodernmet.com/jacob-lawrence-the-migration-series/. Accessed 4 November 2024.