Andre Moreau, an artist who navigated the tumultuous years of the Great Depression, provides a fascinating firsthand account of his experiences in the government-sponsored art projects of the era. In this insightful interview from 1964, Moreau recounts his journey from the early experimental programs to the more established WPA (Works Progress Administration) and Treasury Department initiatives. His story illuminates the vital role these projects played in sustaining artists and fostering American art during a time of immense economic hardship.
Moreau’s artistic journey began in St. Louis, Missouri, where he was born in 1912. He received formal training at the Art Students League in New York and the Art Institute of Chicago, grounding himself in classical techniques before the economic crisis swept the nation. The early 1930s saw Moreau participating in the nascent government art projects, starting with a short-lived program in St. Louis in 1933. This “Civilian Works Project,” as he recalls, was an “experimental project” that offered a surprisingly generous wage of $126 a month, a stark contrast to the poverty of the time. It was here he encountered Joe Jones, a fellow artist running a “very left school” for working-class people, blending art instruction with Marxist-Leninist ideologies.
In the fall of 1933, Moreau moved to California, arriving in early 1934, seeking opportunity and a fresh start. Despite the economic downturn, California offered a unique environment for struggling artists. He soon found himself applying for relief in San Fernando, a predominantly Mexican-American community. His English-speaking background proved advantageous, quickly granting him access to the SERA (State Emergency Relief Administration) Art Project in Los Angeles County. This project, while paying significantly less at $29 a month plus materials, provided crucial support.
Moreau recalls living in Chatsworth, California, in what he describes as an “ex-nudist colony that became an art colony.” This unusual living situation highlights the unconventional and often communal nature of artists’ lives during the Depression. While the transcript does not delve into the specifics of the “ex-nudist colony,” it hints at a rejection of societal norms and a search for alternative ways of living, themes that resonate with the keyword “Family Nudist Taboo,” albeit tangentially. The artists in this colony, including Barbara Stevenson and Ellwood Graham, formed a supportive community, reflecting a different kind of “family” bound by shared artistic pursuits and economic struggles.
On the SERA project, Moreau focused on easel painting, submitting one painting a month in exchange for canvas and paint. He notes the limited materials provided and how artists often supplemented them with burlap sacks and gesso. Despite the constraints, the program allowed him to continue painting and even save enough to travel to San Francisco. Living in the fruit-producing region of Southern California, he supplemented his meager income by bartering labor for fruit, embracing a near-vegetarian diet out of necessity and abundance.
His painting style at this time leaned towards Cubism, influenced by Braque and Picasso, evolving from an earlier Impressionistic phase. He describes Barbara Stevenson’s work as “socially significant,” reflecting her deep humanism and political awareness, while Ellwood Graham focused on landscapes and seascapes.
The SERA project concluded in November 1935, leading Moreau to a brief but lucrative stint at Warner Brothers studios as an assistant art director. This unexpected turn provided him with financial stability and the opportunity to purchase property in Monterey. A chance encounter at a Hollywood party led to his involvement in the Treasury Department’s Section of Fine Arts, a non-relief program focused on decorating federal buildings.
This marked a significant shift towards mural work. Moreau became an assistant to Gordon Grant on a mural for the Ventura post office, a project that spanned 18 months and involved designing tiles and grillwork in addition to the mural itself. The mural, depicting the history of Ventura County, was a collaborative effort with Ellwood Graham, showcasing local industries and landscapes. Executed in tempera on gesso-covered Masonite panels, the mural was a testament to the technical ingenuity and cooperative spirit of the artists.
Following the Ventura project, Moreau undertook smaller Treasury Department mural commissions for post offices in Albuquerque, New Mexico, and Rock Springs, Wyoming. These projects, awarded through competitions, required historically themed easel paintings.
In September 1939, Moreau moved to Monterey, joining the WPA Art Project there. He built a studio and became part of a close-knit artist community that included Barbara Stevenson and Ellwood Graham (by then married and alternating project participation). August Gay, the project supervisor, fostered a supportive environment, more concerned with artistic quality than strict bureaucratic adherence. Monterey offered a haven for artists, allowing them to work in their studios and engage with the natural beauty of the peninsula.
The Monterey WPA project was primarily focused on easel painting, although Moreau participated in a large-scale mural project for the Monterey County Fair, a collaborative effort involving all the local WPA artists. This massive billboard-style mural, depicting Monterey County history, was a temporary installation, painted on canvas to be erected and dismantled annually.
While the WPA provided essential income, it also imposed limitations. Moreau recalls a tacit understanding against abstract art and nudes for project submissions, favoring representational, academic styles deemed more suitable for public spaces like schools and hospitals. Despite these constraints, artists like August Gay and Lucien Labaudt maintained their artistic integrity. Ellwood Graham, while creating historical portraits for the project, pursued more experimental work independently, as did Barbara Stevenson with her cityscapes and children’s themes.
Moreau also contributed to the WPA through a sustained project, creating an art instruction book for Monterey County rural schools. This comprehensive guide, filled with illustrations and practical advice, aimed to support teachers with limited art training in one-room schoolhouses.
Reflecting on the WPA era, Moreau emphasizes its profound impact on American art. He believes that without these government projects, many artists, including himself, would have been forced to abandon their artistic careers. The WPA, despite its bureaucratic imperfections, laid the groundwork for the flourishing of American art in the post-World War II era. He views the period as “eminently successful,” fostering a generation of artists and creating a lasting legacy of public art.
The interview concludes with Moreau’s reflections on the enduring value of the WPA and its contribution to his life and the broader art world. His story is a powerful reminder of the resilience of artists in the face of adversity and the transformative potential of government support for the arts.
