Political Art
Curry's art in general was conservative in political content. He believed that art was for the common person. He did not believe in political propaganda, particularly the Marxist kind that Diego Rivera popularized in the 1930s. Curry avoided exploiting the controversial subjects in which Rivera became involved because, he did not believe they added any artistic quality to his work. However, Curry did create a few political sketches or studies, but these were never expanded on for larger projects. Rather, he enjoyed observing public events and capturing them on paper.
Curry's few semi-political paintings evolved out of his personal experiences rather than created as a display of social commentary. The Return of Private Davis completed in 1940 was first witnessed near his home in 1918, and a similar study was made in France during 1926. Schmeckenbier relates this painting to the Baptism: "a rural religious ceremony whose tragedy is intensified by the realization that this son of the fresh green Kansas prairies was sacrificed on a battlefield whose ideological remoteness was as dramatic as its geographical makeup." The painting does not express a political spectacle, rather Curry's personal feelings. Conversely, Parade to War depicts departing soldiers rather than the return of a victim of war. Curry was working in a time period fraught with turmoil; he was working during the Great Depression, which was flanked on each side by a World War. He was inspired by a massive anti-war sentiment that was reflected in literary works such as All Quiet on the Western Front. Curry experienced personally the effects of war and portrays personal tragedy, suffering and death in these paintings.
Along with war scenes Curry also produced a number of manhunt and fugitive subjects. These ideas were inspired by remembrances from his own childhood, but were also observed from publicized events during the early 1930s. The Lindbergh kidnapping and John Dillinger's crime spree were well known and public deaths such as lynchings were often the result of such crimes. These earlier political works would influence later Curry's mural work in the Department of Justice Building. Located "above the entrance to the Justice Department library" is Curry's painting, Law vs. Mob Rule in which a judge in black robes protects a man who has collapsed on the courthouse steps from a lynch mob.
Read more about this topic: John Steuart Curry
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