Machinery (Abstract #2)

Paul Kelpe, Machinery (Abstract #2), 1933-1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor, 1964.1.27
Paul Kelpe, Machinery (Abstract #2), 1933-1934, oil on canvas, 38 1426 38 in. (97.067.0 cm.), Smithsonian American Art Museum, Transfer from the U.S. Department of Labor, 1964.1.27

Artwork Details

Title
Machinery (Abstract #2)
Artist
Date
1933-1934
Location
Not on view
Dimensions
38 1426 38 in. (97.067.0 cm.)
Credit Line
Transfer from the U.S. Department of Labor
Mediums
Mediums Description
oil on canvas
Classifications
Subjects
  • New Deal — Public Works of Art Project — Illinois
  • Abstract
  • Architecture — machine
  • Figure male — full length
  • Architecture — industry — factory
Object Number
1964.1.27

Artwork Description

What kind of industry does the man holding the levers control in Paul Kelpe's painting Machinery. There are no hints; the smokestacks emit no smoke and no product piles up on the factory floor. In fact, Kelpe's mechanism manufactures nothing. He was actually an abstract painter whose concerns were aesthetic. In his paintings for the Public Works of Art Project, he knew that he needed to somehow address "the American Scene." "As they refused to accept 'nonrepresentational' art," he said, "I made a number of pictures with geometric machinery." But Kelpe, unlike the many PWAP artists who factually depicted industrial scenes, studied no real-life factories. He created his own independent visual world, reflecting the kind of technological progress of which Americans were proud. The artist thoughtfully balanced large and small shapes, warm and cool colors, to create a harmonious mechanistic vision. A pattern of diagonal brushstrokes on the painting’s surface catches the light to suggest action. The wheels seem to turn with the soft hum of a well-tuned machine.

1934: A New Deal for Artists exhibition label

Works by this artist (6 items)

ADÁL, Un Momento Retardado, ca. 1973, gelatin silver print, Smithsonian American Art Museum, Transfer from the National Endowment for the Arts, 1983.63.1, © 1973, ADAL
Un Momento Retardado
Artist
Dateca. 1973
gelatin silver print
Not on view
ADÁL, El Puerto Rican Passport, El Spirit Republic de Puerto Rico: Adál Maldonado, 1994, lithography with photograph in staple-bound booklet, Smithsonian American Art Museum, Gift of the artist, 2013.19.1, © 2012, ADÁL
El Puerto Rican Passport, El Spirit Republic de Puerto Rico…
Artist
Date1994
lithography with photograph in staple-bound booklet
Not on view
ADÁL, El Puerto Rican Passport, El Spirit Republic de Puerto Rico: Luciana Alexandra del Rio de la Serna, 1994, issued 2012, lithography with photograph in staple-bound booklet, Smithsonian American Art Museum, Gift of the artist, 2013.19.2, © 2012, ADÁL
El Puerto Rican Passport, El Spirit Republic de Puerto Rico…
Artist
Date1994, issued 2012
lithography with photograph in staple-bound booklet
Not on view
ADÁL, West Side Story Upside Down, Backwards, Sideways and Out of Focus (La Maleta de Futriaco Martínez), 2002, suitcase, flat-screen LCD monitor, single-channel digital video, color, sound; 12:51 minutes, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2013.20A-B, © 2002, ADÁL
West Side Story Upside Down, Backwards, Sideways and Out of…
Artist
Date2002
suitcase, flat-screen LCD monitor, single-channel digital video, color, sound; 12:51 minutes
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

Sean Scully, Pomes Penyeach (by James Joyce), 1993, book, Smithsonian American Art Museum, Gift of the artist, 2001.79.44.1-13, © 1993, Sean Scully
Pomes Penyeach (by James Joyce)
Date1993
book
Not on view
Man Ray, Alphabet for Adults, 1948, mechanical reproduction on paper and paperboard, Smithsonian American Art Museum, Gift of Juliet Man Ray, 1985.25.1, © 1948, Man Ray Trust
Alphabet for Adults
Artist
Date1948
mechanical reproduction on paper and paperboard
Not on view
The American Monument
Date1976
deluxe edition book limited to 50 copies, Eakins Press, New York, edition 28/50, Volume I contains 213 gravure illustrations
Not on view