Kentucky by Design

The Decorative Arts and American Culture

Andrew Kelly

• Publisher: The University Press of Kentucky
• Year: 2015
• Print ISBN: 9780813155678
• eBook ISBN: 9780813155685
• Topic: Art
• Subtopic: Art General

The Index of American Design was one of the most significant undertakings of the Federal Art Project—the visual arts arm of the Works Progress Administration. Part of President Franklin D. Roosevelt's New Deal, this ambitious initiative set out to discover and document an authentic American style in everyday objects. The curators of the Index combed the country for art of the machine age—from carved carousel horses to engraved powder horns to woven coverlets—created by artisans for practical use. In their search for a true American artistic identity, they also sought furniture designed by regional craftsmen laboring in isolation from European traditions.

Kentucky by Design offers the first comprehensive examination of the objects from the Bluegrass State featured in this historic venture. It showcases a wide array of offerings, including architecture, furniture, ceramics, musical instruments, textiles, clothing, and glass- and metalworks. The Federal Art Project played an important role in documenting and preserving the work of Shaker artists from the Pleasant Hill and South Union communities, and their creations are exhibited in this illuminating catalog. Beautifully illustrated with both the original watercolor depictions and contemporary, art-quality photographs of the works, this book is a lavish exploration of the Commonwealth's distinctive contribution to American culture and modern design.

Features contributions from Jean M. Burks, Erika Doss, Jerrold Hirsch, Lauren Churilla, Larrie Currie, Michelle Ganz, Tommy Hines, Lee Kogan, Ron Pen, Janet Rae, Shelly Zegart, Mel Hankla, Philippe Chavance, Kate Hesseldenz, Madeleine Burnside, and Allan Weiss.

APPENDIX 1

Adele Brandeis (1885–1975)

Adele brandeis was the administrator of kentucky’S works progress administration Federal Art Project and the Treasury Department’s Section of Painting and Sculpture. She acted as chief liaison and spokesperson for Holger Cahill, the national director of the Federal Art Project, and supervised the Index of American Design in Kentucky from 1936 to 1942. She was a member of the editorial board of and an influential voice at the Louisville Courier-Journal from 1945 to 1968 and a member of the board of trustees of the University of Louisville, the Louisville Free Public Library, and various arts organizations throughout the commonwealth.

INTERVIEWER: Harlan Phillips

AB: Adele Brandeis

HP: Harlan Phillips

HP: By way of departure, I think you ought to fence in the story of how you became involved in the WPA [Works Progress Administration], what the situation was like in Kentucky, what you had to do with and what you went about.

AB: That’s kind of difficult. I don’t really know what the situation was in Kentucky. I got involved through knowing Constance Rourke and her interest in the Audubon and her interest in the Shakers. When Constance Rourke told me that they were going to start on the Index of American Design, I instantly decided that somebody ought to record what the Shakers had done in Kentucky. It seemed a very mild beginning, and I suddenly realized that I had no idea how it was to be recorded. I couldn’t record it, and I found they wouldn’t use photographs. So, I did know through being on the Board of the Art Center School here—I’ve been on the Board ever since it started—that there were a great many young struggling artists who had been working in the Art Center School and had no idea of ever being able to make a living in depression days. It occurred to me that if they could possibly be taught how to do this interesting and meticulous work for the Index, that maybe it would somehow serve a purpose later on and at least [it would] pay them a little something and tide them over and keep them from being quite so discouraged. My work with the WPA really started through the Index of American Design. Then, queerly enough, before there ever was any Treasury Art Project here, I was asked—I don’t know why, except that through Bruce I suppose—to help judge a mural project in Washington. When I found that some of the murals weren’t so very good, although some of them were extraordinary, it occurred to me that maybe some of the people here in Kentucky who were pretty impatient with spending their time doing the Index of American Design and who would love to paint in oil or in fresco, which they didn’t know anything about, or even in watercolor, would like to try something like that. So I asked if it were possible if I could find any artists. [Knock.] Come in. Thank you so much. Did you bring me the original? You didn’t bring the original. Bring that too. So, it occurred to me that if I could find the artists who might possibly have some creative ability and not just copying ability, we might be able to start a mural project. Is this what you want?

Oral history interview with Adele Brandeis, at the Louisville Courier-Journal, Louisville, Kentucky, June 1, 1965. Courtesy of the Archives of American Art, Smithsonian Institution, all rights unreserved. Obvious transcription errors have been silently corrected throughout the appendixes.

Figure 190. Adele Brandeis and Charles P. Farnsley, University of Louisville, 1949. Courtesy University Archives, University of Louisville Library, University of Louisville.

HP: Yes, indeed.

AB: I did know some of these young people. I had worked with them at the Art Center. Then when they began explaining to me that they had to have contests, or competitions, then I realized I couldn’t just use the young people that I knew here in Louisville. It would have to be statewide and then I found it could also be Southern Indiana. So, at that time I was able to get enough publicity in the Courier Journal and the Lexington paper, to alert artists in other parts of the state. Well, there didn’t seem to be very many artists in other parts of the state. Interestingly enough, there was a rather experienced man named Frank Long who had a studio in Berea, and he immediately said that he would like to try. He came up here to talk to me and I got him to talk to some of the young people. Orville Carroll, for instance, and Mary Nay and William White and Robert Purdy, were my first who had been working for me. I asked them to let Frank Long explain how to do a mural, if you could explain it. They were all very enthusiastic and all of them asked if they could be allowed to compete. Well, Orville Carroll was good enough and Robert Purdy was good enough, but Mary Nay had never had any experience except as a senior in art school, and I didn’t think she’d get anywhere, particularly in a big competition, so I asked if it were possible to use some of these people who would like to do murals and have them have a local sponsor. I got the library to sponsor Mary Nay, and she did a mural in the Children’s Department and the library sponsored Orville Carroll who did his first mural in the lobby. Orville’s was good enough. Interestingly enough, Mary’s, I didn’t think, was as good as Orville’s. Orville’s was good enough that I suggested that he enter into some of the national competitions. He got a post office mural in Southern Indiana and one in Columbia, Kentucky, and Harrodsburg, Kentucky, and part of the Marine Hospital in Louisville. He did four of them. Meanwhile, Frank Long, who was in Berea and who was, as I say, quite an experienced artist, not young like these children. These were mostly in their early twenties. He told me that he had an extremely talented young man from a little tiny country town ten miles from Berea who would love to work on a mural. He was helping him, but he had never done anything but race horses and copies of Daniel Boone, or Audubon at $25 a throw. I went down to see him and found that he was a most eager, excited person at the idea of painting. He showed me a lot of sketches and I was pretty sure he would be good enough. So he tried for a competition for the Post Office in Hopkins County, Kentucky, in Madisonville, and he was the only person in the competition. So there wasn’t much question about his having a competitor. He was good enough so he was chosen immediately. As I say, he worked in a town of 77 inhabitants called Disputanta. He couldn’t come to Louisville and hire a studio because he was only getting $45 or $50 per month, and he would have had to rent some place and eat and sleep. So he suggested that, as long as it was a very large mural, he would work in his father’s tobacco barn and that’s where he worked. One at a time, he did five. Meanwhile, the public schools were very interested. I found I could get a couple of public schools through the superintendent of schools who was a very wide-awake person, to let me have some of the less experienced children work in the public schools. I had four murals done in public schools here by different people. The interesting thing is, for instance, that one boy named Robert Purdy, who worked in a public school, has since become an artist in New York, making a large living, and has done all the decorating and designs for the Revlon people. Then a young man named William White is now the art director for the television station here in the Courier Journal and has 14 people working under him. It is extraordinary, really. Orville, who worked on the Index for me until he began painting murals, is now an artist and also makes picture frames, but he is an artist who has been painting ever since, has gone abroad and studied over there and has had a one-man show recently in which he sold, on the first day, the opening of the show, sold 77 out of 100 pictures and has now sold all but two. He has some more orders. Mary Nay, who at 18 or 19 did the children’s mural in the public library here, has since won prizes all over this part of the country and is an instructor in the art department of the University of Louisville Fine Arts Institute. I don’t know what. . . . Bert Mullins, who was the one who was the very ambitious one from out in the country, has died. I don’t know how far he would have gone. Every instinct in that man was an artistic one. I remember, I said to him: “You know, Bert, you are not going to be able to work very many hours. The smaller the town you come from, the fewer hours you work and the less money you get and what are you gonna do the rest of the time?” He said, “I guess I’ll just lay.” I said, “Now, Bert, you are too young and too strong to just lay around doing nothing.” He said, “Doing nothing! I’m gonna lay me a stone house.” That’s what he did. Frank Long, the most experienced of the lot sent by the government, taken away from me, and sent by the government to work with the Eskimos, to teach them work that they could do with their hands, carved ivory from tusks, and use the stones that were found up there, particularly jade. Frank was able, how I don’t know, to get silver. He learned how to make rings and bracelets and key ring things. I don’t know what happened to him. I’ve lost him long ago. The government took him away from me. Charles Goodwin, who started out as a sculptor and whose love is still sculpture. . . . Whenever a mural wasn’t quite able to be finished, somebody was taken into the army, or something like that, Charles was willing to finish it. He worked on murals too, but he has now become a sculptor who has won a good many competitions and makes a very comfortable living as a designer for a big decorating firm here. I had one person who worked in metals. Did you see her outside of the library?

HP: Yes. I wondered about that.

AB: Well, I only had her for a short time. She was extremely tale...

Table of contents

• Cover
• Title
• Copyright
• Contents
• Foreword
• Introduction
• Regional Reputations, Modern Tastes, and Cultural Nationalism: Kentucky and the Index of American Design, 1936–1942
• Kentucky Folk Art: New Deal Approaches
• The Shaker Renderings from Kentucky: Models for American Modernism
• THE CATALOG
• Acknowledgments
• Appendix 1: Adele Brandeis (1885–1975)
• Appendix 2: Holger Cahill (1887–1960)
• Appendix 3: Edith Gregor Halpert (1900–1970)
• Appendix 4: Constance Rourke (1885–1941)
• Appendix 5: Index of American Design Manual, 1938
• Appendix 6: Cupboards from the Gerald R. McMurtry Collection
• Checklist of the Kentucky Index
• Selected Bibliography, Exhibitions, and Sources
• Index