(Underpass – New York)

Unidentified (American), (Underpass--New York), 1933-1934, oil on photograph on canvas mounted on paperboard, Smithsonian American Art Museum, Transfer from the Internal Revenue Service through the General Services Administration
, 1962.8.41
Unidentified (American), (Underpass--New York), 1933-1934, oil on photograph on canvas mounted on paperboard, 19 7823 78 in. (50.660.8 cm.), Smithsonian American Art Museum, Transfer from the Internal Revenue Service through the General Services Administration , 1962.8.41
Free to use

Artwork Details

Title
(Underpass – New York)
Artist
Unidentified (American)
Date
1933-1934
Dimensions
19 7823 78 in. (50.660.8 cm.)
Credit Line
Transfer from the Internal Revenue Service through the General Services Administration 
Mediums
Mediums Description
oil on photograph on canvas mounted on paperboard
Classifications
Subjects
  • Architecture — bridge
  • Landscape — road
  • Landscape — time — night
  • Landscape — New York
Object Number
1962.8.41

Artwork Description

The street and sidewalks are empty; not a person, car, or even a stray dog is to be seen. What is the viewer supposed to see in this unpopulated street illuminated by glowing street lamps? Do the yellow street sign and the modest fireplug have some unexpected significance? The real subject of the painting turns out to be a newly built underpass designed to safely route cars under the train tracks in Binghamton, New York. During the 1930s several underpasses around Binghamton were upgraded by federal and New York State agencies working to improve city infrastructure while providing employment to those thrown out of work by the Great Depression. The stark lighting of street lamps at night shows off the clean lines of the freshly cast concrete as if the underpass were a modernist sculpture or an elegant new office building. The Smithsonian owns two other paintings documenting railroad underpasses built elsewhere in the country during the same era. All three were painted by Smithsonian American Art Museum artists working over photographs printed on canvas. Through documentary projects of this kind civil works became allied to artworks, providing employment for builders and artists alike.

1934: A New Deal for Artists exhibition label

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

Claire Falkenstein, City is Man, 1941-1952, linocut, Smithsonian American Art Museum, Gift of The Falkenstein Foundation, 2019.27.14, ©1997, The Falkenstein Foundation
City is Man
Date1941-1952
linocut
Not on view
Claire Falkenstein, Untitled, 1976, embossed paper, Smithsonian American Art Museum, Gift of The Falkenstein Foundation, 2019.27.18, ©1997, The Falkenstein Foundation
Untitled
Date1976
embossed paper
Not on view
Claire Falkenstein, Mandala, 1977, lithograph, Smithsonian American Art Museum, Gift of The Falkenstein Foundation, 2019.27.19, ©1997, The Falkenstein Foundation
Mandala
Date1977
lithograph
Not on view
Nathan Oliveira, Site with Blue and White, 1978, monotype, Smithsonian American Art Museum, Bequest of Moses Lasky, 2004.32.14
Site with Blue and White
Date1978
monotype
Not on view