Finishing the Cathedral of Learning

Harry W. Scheuch, Finishing the Cathedral of Learning, 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor, 1964.1.42
Harry W. Scheuch, Finishing the Cathedral of Learning, 1934, oil on canvas, 40 1430 14 in. (102.376.9 cm.), Smithsonian American Art Museum, Transfer from the U.S. Department of Labor, 1964.1.42

Artwork Details

Title
Finishing the Cathedral of Learning
Date
1934
Dimensions
40 1430 14 in. (102.376.9 cm.)
Credit Line
Transfer from the U.S. Department of Labor
Mediums
Mediums Description
oil on canvas
Classifications
Subjects
  • Figure group
  • Occupation — industry — construction
  • Architecture — vehicle — truck
  • Cityscape — season — winter
  • Allegory — arts and sciences — education
  • New Deal — Public Works of Art Project — Pennsylvania
Object Number
1964.1.42

Artwork Description

Workers scurry like busy ants to complete the University of Pittsburgh's lofty Cathedral of Learning. The men and trucks trample the winter's snow into mud as they labor through the frigid winter of 1933–1934 to house much-needed new classrooms. Carpenters nail timbers together to finish the scaffolding. The main part of the structure rises at the upper right, already clad in limestone blocks, while masons are still covering the lower stories of the façade in stone. Behind the Cathedral of Learning stand the gleaming white columns of the Mellon Institute Building, which was also under construction.

Artist Harry Scheuch painted the Cathedral of Learning twice for the PWAP. The first image is a close-up view of the masons at work(1964.1.157), while this second painting (1964.1.42) is a more distant view that reveals the horde of workers involved. Together the two paintings tell the story of this mighty undertaking. The forty-two-story structure was not substantially completed until 1937, and some interior work continued for decades after that. Like the Empire State Building and the Golden Gate Bridge, the Cathedral of Learning demonstrated that the Great Depression could not stop Americans from accomplishing great things.

1934: A New Deal for Artists exhibition label

Works by this artist (8 items)

Beatrice S. Levy, The Beach, n.d., color aquatint, Smithsonian American Art Museum, Gift of Chicago Society of Etchers, 1935.13.188
The Beach
Daten.d.
color aquatint
Not on view
Beatrice S. Levy, The Derelict, 1914, color aquatint on paper, Smithsonian American Art Museum, Gift of Chicago Society of Etchers, 1935.13.187
The Derelict
Date1914
color aquatint on paper
Not on view
Beatrice S. Levy, In Orchestra Hall, n.d., drypoint, Smithsonian American Art Museum, Gift of Chicago Society of Etchers, 1935.13.189
In Orchestra Hall
Daten.d.
drypoint
Not on view
Beatrice S. Levy, Rain in the Hills, 1935, etching on paper, Smithsonian American Art Museum, Gift of Chicago Society of Etchers, 1935.13.605
Rain in the Hills
Date1935
etching on paper
Not on view

Related Books

1934_500.jpg
1934: A New Deal for Artists
During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.

More Artworks from the Collection

Salvatore Mancini, Narragansett Electric, 2000, gelatin silver print, Smithsonian American Art Museum, Gift of Joseph A. Chazan, M.D., 2002.80.8
Narragansett Electric
Date2000
gelatin silver print
Not on view
Salvatore Mancini, Remains of Lock, Millville, 2000, gelatin silver print, Smithsonian American Art Museum, Gift of Joseph A. Chazan, M.D., 2002.80.6
Remains of Lock, Millville
Date2000
gelatin silver print
Not on view
Keisha Scarville, Chair, 2001, gelatin silver print, Smithsonian American Art Museum, Gift of the Perkins Center for the Arts, 2002.17, © 2001, Keisha Scarville
Chair
Date2001
gelatin silver print
Not on view
Salvatore Mancini, Eel Fisherman, 2000, gelatin silver print, Smithsonian American Art Museum, Gift of Joseph A. Chazan, M.D., 2002.80.2
Eel Fisherman
Date2000
gelatin silver print
Not on view