771:, Jackson admitted he had "seen photographic duplications" but had "not personally seen the murals" before calling them "not truly representative of the history of California", adding "if they were in the Capitol of the United States I would join in protesting them." The HUAC dossiers of Arnautoff and Blanch, the jurors supporting the selection of Refregier, were also read into the record; it was noted that Guston, who had opposed the selection, did not have a HUAC record. Scudder then passed around black-and-white photographs of the murals and provided specific criticism for each one, singling out the depiction of indigenous people ("strong features, muscles, and physique ... a true picture of the aborigines of the West"), Spanish explorers and priests ("big-bellied", "warlike", and "objectionable to people who appreciate ... those who developed California and brought civilization to the west coast"), pioneer settlers ("cadaverous, soulless Americans" and a "moronic assemblage of people"), and gold miners ("depicting the thing which the Communists claim, we are only seeking the golden riches in our mode of life"), among others.
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and from reproductions of the finished murals, is a remarkable work of art, and an outstanding example of the growing tendency in your country to try to exert political control over freedom of thought and expression, and to impair the liberty of the creative artist ... The lamentable state of biology and philosophy in the U.S.S.R. shows what happens when creative thought and expression is subjected to control on political or ideological grounds. It is most unfortunate that, just when the free world is protesting against this form of tyranny in the Iron
Curtain countries, actions like that of Republican Scudder are trying to introduce a similar tyranny in your great country.
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1039:". As Brian N. Wallis noted in a 1977 catalog of Refregier's work, "Refregier had recourse to two interpretations of California history, these being the glorious, romantic vision of folk tales, or the realistic depiction of the hardships and struggles of the early settlers. Refregier selected the realistic representation as being more interesting and more dramatic. This deviation from the accepted, or preferred, view of history was the source of much of the dispute over the murals". Some suspected Refregier of being a
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652:(#24, "The Waterfront"), as one of the mourners was pictured with a VFW hat; VFW quartermaster adjutant H.M. "Sam" Herman went on to attack Refregier's politics and questioned the significance of the strike: "Surely there was nothing of historical significance in the waterfront riot to warrant its being commemorated as an outstanding event in the history of our city." Refregier originally had intended to depict
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893:. Mailliard said the selection of Refregier was "unfortunate", but added "Many of these arguments for and against removal of the murals seem to me to be without validity. ... Judging either the painter or the style of art used would be putting the Congress in the same position as the totalitarian governments who refuse to allow music to be played if the composer's politics do not suit them."
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Refregier also uses white to represent virtue in those inspired by a cause. His style is very flat and one-dimensional. He uses solid blocks of color to denote shadows, along with depth and shade. His painting style appears to be very rudimentary and simple, but complex because of the way he uses color to evoke emotion and powerful images to tell a story.
744:, who claimed the murals "do not truly depict the romance and glory of early California history; but on the contrary cast a most derogatory and improper reflection upon the character of the pioneers, and that other murals are definitely subversive and designed to spread communistic propaganda and tend to promote racial hatred and class warfare".
546:'s executive order of October 14, 1934 to award commissions to artists for new federal buildings; once the Rincon Annex Post Office was completed in 1940, the Section announced a competition for artists on April 12, 1941, drawing attention in the local press. Entries were required to be submitted by October 1 of that year.
509:, suggested that here were all the federal buildings going up new Post Offices, Federal money was being spent. The discovery was made, one day, that there was a procedure of allocating one percent of the total cost of the building for fancy door handles, Renaissance ceilings the kind of ceiling you can see in our
685:
I wish to thank you for your letter as to whether anything can be done about the removal of
Communist art in ... I realize that some objectionable art, of a subversive nature, has been allowed to go into federal buildings in many parts of the country ... At such a time as we may have a change in the
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Refregier was required to submit sketches of the planned designs for approval prior to starting work. The project sponsors requested 92 changes during the design and painting of the murals, ranging from slimming a
Spanish priest (#6, "Preaching and Farming at Mission Dolores") to raising picket signs
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opened a
Congressional hearing to determine whether the murals should be removed for themes "inconsistent with American ideals and principles"; the often contentious proceedings concluded with their retention. The building is now part of Rincon Center, remodeled as shops and residences after the Post
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Refregier used these topics, including the tragedies, as inspiration. Refregier "believed that art must address itself to contemporary issues and that a mural painting in particular must not be 'banal, decorative embellishment', but a 'meaningful, significant, powerful plastic statement based on the
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was the largest mural commissioned by the federal government at the time of the award in 1941. The medium was specified in the contract to be tempera on gesso, and the murals were to be completed within three years (1,095 calendar days) of the award of the contract. Shortly after he was awarded the
776:
I am much distressed about the Bill introduced by
Congressman Scudder to authorize the removal of your murals in the Rincon Annex Post Office. This seems to me a highly injurious proposal. It is injurious because it would mean the destruction of what, to judge from my recollection of your sketches
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noted that
Scudder was best known for failing to remove the murals, calling him a misguided patriot and comparing him to "a child who marches in a parade holding up the American flag". Scudder won re-election and continued to insist the murals were "very obnoxious to people in the area", claiming
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During the painting of the murals, Refregier would be interrupted by well-meaning Post Office patrons, as he recounted in 1947: "One way I learn is from the people who stream through the Post Office and watch me work. They look at my pictures a while, then catch my attention and start telling me
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Later in the defense, a statement from Warren Howell was read into the record, providing "recognizable sources which are authoritative and authentic" for many of the scenes depicted in the murals. The murals were also vigorously defended by a group of artists and museum directors, including the
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were involved in
Congressional attempts to have the work removed. They claimed it had a communistic tone and "defamed pioneers and reflected negatively on California's past." Many believed that "no artist, however distinguished, escaped the heavy, if well meaning, hand of federal supervision."
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announced they would begin campaigning for the removal of the murals: "Just what sort of paintings are these? The
Communist People's World say they constitute 'a monumental series depicting California history.' We believe they constitute a monumental insult to the city, and in some panels, an
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The style of this historic mural had many of
Refregier's key characteristics. The palette was composed of yellows, browns, and grays, punctuated by red in certain areas to evoke emotion. Earthy tones and the lack of bright colors remind viewers of the struggles and hardships he is depicting.
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murals created a heated debate because they depicted controversial events from
California's past, painted in a public building using taxpayer funds. People believed that it "placed disproportionate emphasis on violence, racial hatred, and class struggle." Even before Refregier finished, the
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Congressman Scudder introduced H.J.Res. 211 on March 5, 1953, calling the murals "an insult to the state, an insult to the intelligence of the public, and anti-American", adding "the murals contain subtle ridicule of characters which are supposed to represent the American people."
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As a compromise, Refregier removed the hat altogether, and the panel was allowed to be shown. In his private notes, Refregier despaired: "The stories in the Hearst press brought out gangs of hoodlums who were constantly under my scaffolding and I no longer worked after the sun set."
767:, but Jackson claimed he was not officially representing HUAC interests for the subcommittee hearing, despite reading additional details about Refregier's activities both before and after the completion of the murals into the record. Under questioning from Subcommittee Chairman
3663:"Anton Refregier's Murals in the Rincon Post Office Annex, San Francisco: A Marxist History of California", by Darren Paul Trebel, A Thesis presented to the Graduate Faculty of the University of Virginia, McIntire Department of Art History, University of Virginia, May 1992.
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In a letter to the editor in 1952, the President of the College Art Association noted that "the pro-Chinese sentiments of one section of the murals and indication of the then existing wartime alliance with Russia of another section reflected the realities of the time."
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Administration and in the majority of Congress, I believe a committee should make a thorough investigation of this type of art in government buildings with the view to obtaining removal of all that is found to be inconsistent with American ideals and principles.
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The mural panels depicted various historical events from California's past, and was meant to span all of human history, from an early Native American creating art (#1, planned title: "In the Beginning, Waters Covered All Earth Except Mount Diabalo
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Panel #16, "Building the Railroad" is on the southeast wall of the Spear Street lobby. The narrow width originally allotted to #16 was used in "Building the Railroad", which wraps around to the adjacent northeast and southwest
611:: "To omit the portrait of FDR from the final panel dealing with the United Nations meeting in San Francisco, is a concession I cannot make. ... I cannot allow myself to be a victim of propaganda against a very great man."
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736:(HUAC) on April 16, and added that opposition to the murals went back as far as 1941; he had been receiving letters opposed to the murals since his first year in Congress, 1949, sent from organizations like the
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2487:(by John Ahlquist and Margaret Levi, 2013) is derived from Panel #24 ("The Waterfront"), via a simplified silkscreen print prepared c.1949, itself notable as the most widely reproduced print of the mural set.
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802:, the two congressmen representing San Francisco, questioned the attacks on the historical accuracy of the murals and whether they were truly glorifying subversive themes. Questioning the presence of
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as the union leader, but changed the original design to make the leader anonymous. In response, the Public Building Administration ordered that panel covered, a decision that drew protest from the
2809:
Rincon Annex Murals, San Francisco: Hearing before the Subcommittee on Public Buildings and Grounds of the Committee on Public Works, House of Representatives, Eighty-Third Congress, First Session
607:, which was seen as an "undignified way" to portray him. Refregier was resistant to the removal of Roosevelt, who was to have been in the center of the middle section of the panel, depicting the
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shopping, dining, and residential complex was unveiled in 1983; under the proposal, the building's exterior and interior would be preserved intact while adding two floors and two towers.
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During the conversion, Thomas Portué restored the murals in 1987. Portué again restored the murals in 2014, alongside his daughter Nicole, and is the ongoing custodian of the murals.
505:, who was a wonderful woman, very aware of the issues, (a former social worker) a person of great human values; and many other people who are under Roosevelt at that time, including
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technique used, the murals could not be removed without great care and expense. A list of more than 300 citizens and organizations opposing the removal included support from the
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he wanted paint the past as it had affected the present conditions of depression, strikes, and war. Painting of the murals began in 1946, and they were completed by fall 1948.
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Numbered consecutively from left to right, starting from the panel to the right of the corner between the northeast and southeast walls of the Mission Street lobby.
904:, chided Scudder to "leave the S.F. Postoffice Murals alone and come back into your own bailiwick". While running for re-election in 1954, Scudder's opponent
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Panel #20, "San Francisco as a Cultural Center" is on the northwest wall of the Mission Street Lobby, occupying the wider space originally intended for #22.
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of the L-shaped lobby. The lobby consists of two hallways set at right angles to each other; the longer hallway, 208-foot (63 m) long, is parallel to
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in 1988; in total, there were 82 entrants for the Rincon Annex commission, including Refregier. The contract was awarded to Refregier on October 21, 1941.
565:. The jury handed down a split decision, with Underwood, Arnautoff, and Blanch voting for Refregier, and Guston against. His competitors included artists
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All of the mail collected in San Francisco was taken to Rincon Annex for distribution. After the Post Office moved the mail distribution facilities to
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in New York City. Why not take that money and give it to artists in national open competitions? This, Joe, was a great idea! It worked like magic.
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directors of three prominent San Francisco art museums wrote statements supporting the artistic merit of the murals: Walter Heil (Director of the
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Panel #19, "Beating the Chinese" is on the northwest wall of the Mission Street lobby, occupying the narrower space originally intended for #21.
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The mural consists of 27 panels, totaling 400 feet (120 m) long by 6 feet 9 inches (2.06 m) high, completely covering the
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was deleted from the final panel (#27, "War and Peace") because Refregier had based it on a portrait of an aged Roosevelt after the
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that year. The Rincon Center lobby is publicly accessible, and regular guided tours of the murals are provided by volunteers.
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The mural paintings by Anton Refregier in the Rincon Annex of the San Francisco Post Office, San Francisco, California
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A hearing on the bill was held on May 1 of that year by the Subcommittee on Public Buildings and Grounds of the
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964:, and the shorter hallway is parallel to Spear. The ceiling height is 25 feet (7.6 m). The commission of
732:. Scudder kicked off the meeting by reading a biographical sketch of Refregier into the record, sent from the
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Panel #22, "Reconstruction After the Fire" occupies part of the very wide space originally intended for #23.
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Panel #21, "Earthquake and Fire of 1906" occupies part of the very wide space originally intended for #23.
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3488:"Designating the Rincon Annex Post Office as a Landmark Pursuant to Article 10 of the City Planning Code"
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3566:"The Rincon Center Historic Murals: A Conservator's Notes on the Spirit and Significance of Public Art"
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style. Work was interrupted by World War II and restarted in 1946; the murals were completed in 1948.
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You see, along with at about the same time as the WPA was functioning, as a purely relief program,
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2703:. Archives of American Art, New Deal and the Arts Oral History Project, Smithsonian Institution
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987:(#26, planned title: "Chinatown—The Fair, 1946"). In between, other panels would include the
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so their pro-union messages could not be read (#14, "Torchlight Procession"). An image of
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was the next witness to be called. Jackson had replaced Nixon on HUAC after the latter's
845:: Probably we should destroy the works of Michelangelo and those of a few other people.
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that an analysis showed parts of them were "definitely Communist propaganda" in 1957.
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2654:"National Register Information System – Rincon Annex (#79000537)"
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because of his Russian–USSR background, and his mural topics about social issues.
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Scudder's bill never made it out of committee, despite a vote of support from the
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Gelber, Steven M. (1979). "Working to Prosperity: California's New Deal Murals".
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Panel #17 "Vigilante Days" is on the southwest wall of the Spear Street lobby.
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Final Environmental Impact Statement, Yerba Buena Center Redevelopment Area
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1097:"In the Beginning, Waters Covered All Earth Except Mount Diabalo [
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2.06 m × 120 m (6.75 ft × 400 ft)
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reproduction of the panel (#24, "The Waterfront") accompanying the article
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Burbank is now depicted in Panel #20, "San Francisco as a Cultural Center"
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3730:"Roosevelt's Rincon Annex: A Story of a Post Office and Communist Murals"
2812:. Washington, D.C.: United States Government Printing Office. May 1, 1953
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Themes and the space from the original design were reused in #21 and #22.
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The panel (#24, "The Waterfront"), as modified following protests by the
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3493:. Planning Department, City and County of San Francisco. January 2, 1980
635:) is in the center. The mourner in the tan suit has had his hat removed.
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1978:
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3715:. Berkeley, California: University of California Press. pp. 68–89
3106:
Mathews, Jane de Hart (1976). "Art and Politics in Cold War America".
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2747:. Berkeley, California: University of California Press. pp. 68–89
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imagery in the final panel (#27, "War and Peace") Subcommittee Member
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as the final panel; the panel (but not the theme) was moved to #27.
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Refregier was selected by a four-person jury: the Annex architect,
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2545:"29 murals from New Deal era in Rincon center are being restored"
460:
3014:"Artist Ordered To Erase Portrait Of FDR From Post Office Mural"
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rallied again to save the murals; the building was added to the
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3741:. Vol. 28. University of California, Davis. pp. 47–55
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933:(#107) in 1980. A proposed conversion to what would become the
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Holocaust Memorial at California Palace of the Legion of Honor
3709:"Politics and Modernism: The Trial of the Rincon Annex Murals"
2953:"Art (and History) on Trial: Historic Murals of Rincon Center"
2739:"Politics and Modernism: The Trial of the Rincon Annex Murals"
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The planned position for this panel was moved up to Panel #16.
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Images for Panels #4–10;12–17;18–22;24;25;27: Photographed by
837:: Times have changed and maybe we should change the paintings.
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Rincon Center in 2008, view directed east from the corner of
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In the Interest of Others: Organizations and Social Activism
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Themes incorporated into Panel #16, "Building the Railroad".
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called the murals 'debased' while supporting their removal.
501:, whose brother was Attorney General, with encouragement of
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On the Edge of America: California Modernist Art, 1900–1950
3437:(Report). Department of Housing and Urban Development. 1978
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On the Edge of America: California Modernist Art, 1900–1950
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Height of each mural was 6 ft 9 in (2.06 m).
448:, which are a set of 27 murals painted in the lobby of the
3757:"When a red-hunting Congress took on SF murals – and lost"
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that year. San Francisco named added the building to its
921:, vacating the space in 1979, preservationists including
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contributions, culminating in the 1945 signing of the
751:#15 "Pioneers Receiving Mail", derided by Congressman
16:
Murals by Anton Refregier in San Francisco, California
789:, Letter to Anton Refregier, April 18, 1953
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in 1953 for showing a "moronic assemblage of people".
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outrageous attempt to arouse class hatred." Sculptor
573:, whose studies for the project were donated to the
3223:"Rincon Murals 'Debased,' Famed S.F. Sculptor Says"
1153:"To the Costanoas There Was No Land Beyond the Bay"
4142:West Coast Memorial to the Missing of World War II
3789:History of San Francisco murals by Anton Refregier
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1505:"1846—California Becomes an Independent Republic"
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821:: You do not consider that an Allied Power now?
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3852:"Folder: S F Post Offices: Rincon Annex Murals"
3114:(4). American Historical Association: 762–787.
2988:"The Suppression of Art in the McCarthy Decade"
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456:, California. Refregier painted the mural with
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3071:"Vet Chiefs Score Mural In Rincon Post Office"
2860:. Anderson Shea Art Appraisals. Archived from
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3383:"Kortum Tabs Opponent Immature, Isolationist"
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2697:"Oral history interview with Anton Refregier"
730:United States House Committee on Public Works
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43:Lobbies of the Rincon Annex Post Office (now
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3686:(2). California Historical Society: 98–127.
3357:"Kortum raps opponent on failure to aid Ike"
3249:"Scudder Seeks Removal Of Subversive Murals"
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2594:"City of San Francisco Designated Landmarks"
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3639:"San Francisco '34 Waterfront Strike, 1949"
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2461:Original themes were moved up to Panel #25.
2435:Themes for this were moved up to Panel #24.
2426:Themes for this were moved up to Panel #23.
1332:"Preaching and Farming at Mission Dolores"
442:won the $ 26,000 commission for the series
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3195:"Fight on 'Red' Rincon Murals Starts Anew"
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59:Bottom: View northeast in Mission St lobby
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2623:"Anton Refregier: Renaissance Man of WPA"
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734:House Committee on Un-American Activities
698:, Letter to C.E. Plant, July 18, 1949
660:longshoremen and artists' organizations.
174:U.S. National Register of Historic Places
3844:"Folder: S F Post Offices: Rincon Annex"
3673:(M.A. thesis). Arizona State University.
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2876:"Rincon Annex Murals – San Francisco CA"
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867:California Palace of the Legion of Honor
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877:). Howe added that due to the delicate
4248:
3041:"Post Office Murals Depict California"
2950:
2715:
2648:
2646:
2644:
2642:
2640:
2638:
2636:
2570:"National Register Information System"
1244:"Conquistadores Discover the Pacific"
1029:San Francisco War Memorial Opera House
1007:and fire, the trial of trade unionist
3865:
3657:
3572:. American Institute for Conservation
3475:
2607:
2269:Mission Street Lobby, northeast wall
2032:Mission Street Lobby, northwest wall
1941:"San Francisco as a Cultural Center"
810:had a brief exchange with Mailliard:
589:contract, in 1942 Refregier told the
525:, 1964 interview with Joe Trovato
57:Top: View northwest in Spear St lobby
3818:"Scandalous Murals of Rincon Center"
3564:Portué, Thomas (November 23, 2016).
3513:"Proposal unveiled for Rincon Annex"
3331:"S.F. Can Settle Her Own Mural Hash"
2903:. Fine Arts Museums of San Francisco
2678:
2659:National Register of Historic Places
2575:National Register of Historic Places
2446:Golden Gate International Exposition
2102:"1906—The Great Earthquake and Fire"
1354:California mission clash of cultures
1310:Spanish colonization of the Americas
985:Golden Gate International Exposition
927:National Register of Historic Places
481:National Register of Historic Places
3457:"Nagging waterfront plan questions"
2633:
2562:
2522:destroyed over its communist themes
1919:Anti-Chinese violence in California
1860:Spear Street Lobby, southwest wall
1815:Spear Street Lobby, southeast wall
1690:Spear Street Lobby, northeast wall
1290:"1776—Building the Mission Dolores"
13:
3799:"Trial of the Rincon Annex Murals"
3538:Shaw, Jennifer (January 6, 2015).
3039:Fried, Alexander (July 13, 1947).
2985:Hauptman, William (October 1973).
2925:Casey, Cindy (November 20, 2011).
2620:
2543:Nolte, Carl (September 28, 2014).
2258:"1933—Building Golden Gate Bridge"
2183:"Building the Golden Gate Bridge"
1559:"Gold Discovered at Sutter's Mill"
1423:"Hardships of the Emigrant Trail"
575:Fine Arts Museums of San Francisco
261:Show map of San Francisco Bay Area
14:
4282:
3776:
3168:"Destruction of Murals Protested"
2477:
2161:1934 West Coast waterfront strike
1381:'Fort Ross'—Russian Trading Post"
851:Subcommittee meeting, May 1, 1953
650:1934 West Coast waterfront strike
580:
537:Section of Painting and Sculpture
363:George A. Fuller Construction Co.
183:San Francisco Designated Landmark
3782:
3728:Cravotto, Julianne (2016–2017).
3408:Pearson, Drew (March 13, 1957).
2251:
2173:
2139:
2061:"Reconstruction After the Fire"
2051:
2014:
1931:
1889:
1797:
1753:
1714:
1669:
1630:
1591:
1562:"Finding Gold at Sutter's Mill"
1498:
1462:
1413:
1371:
1322:
1283:
1266:San Francisco Bay Discovery Site
1234:
1168:Indigenous peoples of California
1124:Indigenous peoples of California
615:exactly what my pictures mean."
277:
270:
252:
245:
227:
220:
35:
27:
4061:Robert Louis Stevenson Memorial
3854:. San Francisco Public Library.
3846:. San Francisco Public Library.
3711:. In Karlstrom, Paul J. (ed.).
3631:
3609:
3584:
3557:
3531:
3505:
3449:
3427:
3401:
3375:
3349:
3323:
3297:
3267:
3241:
3215:
3193:Cook, Gale (October 24, 1948).
3186:
3160:
3134:
3032:
3006:
2944:
2893:
2868:
2850:
2741:. In Karlstrom, Paul J. (ed.).
2455:
2438:
2429:
2420:
2411:
2402:
2393:
2384:
2375:
2366:
2357:
2348:
2338:
2329:
2320:
2307:
2298:
1775:First transcontinental railroad
1469:"1847—Printing California Star"
1384:"Fort Ross–Russian Trade Post"
1035:history and lives of the people
1017:San Francisco Waterfront Strike
1001:First transcontinental railroad
829:: When the paintings were done.
3754:Kamiya, Gary (June 14, 2019).
3108:The American Historical Review
2832:"$ 26,000 Offer For 27 Murals"
2824:
2024:"Earthquake and Fire of 1906"
1736:Pacific Mail Steamship Company
1676:"Importation of Chinese Labor"
1344:Spanish missions in California
1305:Spanish missions in California
1293:"Monks Building the Missions"
1106:"A California Indian Creates"
738:Native Sons of the Golden West
673:Native Sons of the Golden West
530:
402:
389:
186:
1:
4115:United Nations Plaza Fountain
2526:
2180:"Maritime and General Strike"
2073:1906 San Francisco earthquake
2039:1906 San Francisco earthquake
1852:"Riot Scene, Civil War Days"
1396:Fort Ross State Historic Park
1359:Mission San Francisco de Asís
1156:"Indians by the Golden Gate"
1005:1906 San Francisco earthquake
474:In 1953, U.S. Representative
4266:Paintings by Anton Refregier
3837:San Francisco Public Library
2858:"Richard Haines (1906-1984)"
2699:(Interview). Interviewed by
2510:attempted to destroy in 2019
2239:Hunters Point Naval Shipyard
1899:"The Sand Lot Riots of 1870"
1804:"Building the Union Pacific"
1741:United States Postal Service
1472:"An Early Newspaper Office"
1071:Subjects / Events / Context
913:Preservation and restoration
618:
7:
3957:Double L Excentric Gyratory
3893:Public art in San Francisco
3835:Historical images, via the
3275:"Rincon Annex Mural Debate"
2491:
2222:"Shipyards during the War"
1047:Titles and subjects of the
971:
887:American Federation of Arts
875:San Francisco Museum of Art
467:over plaster walls, in the
10:
4287:
3669:Kunkel, Gladys M. (1969).
3619:. University of Washington
3617:"About the Book Cover Art"
2508:San Francisco School Board
2219:"Chinatown—The Fair, 1946"
1914:San Francisco riot of 1877
1724:"Pioneers Receiving Mail"
1113:
952:Diagram of mural locations
794:In defense of the murals,
720:1953 Congressional hearing
671:and his colleagues in the
497:with the encouragement of
486:
4235:Graffiti in San Francisco
4227:
3899:
3641:. National Gallery of Art
3253:Daily Independent Journal
3142:"Battle Opens Over Mural"
2957:San Francisco City Guides
2260:
2221:
2182:
2148:
2104:
2078:Committee of Fifty (1906)
2060:
2031:
2023:
1940:
1859:
1806:
1762:
1723:
1689:
1639:
1600:
1561:
1507:
1471:
1422:
1383:
1331:
1292:
1243:
1204:
1155:
1105:
1070:
1067:
1064:
1061:
1058:
1055:
943:
900:. A local newspaper, the
432:
424:
416:
411:
400:
388:NRHP reference
387:
377:
372:Gilbert Stanley Underwood
367:
359:
351:
343:
306:
301:San Francisco, California
295:
236:Show map of San Francisco
214:
198:
194:
180:
171:
164:
160:
156:
151:Hudson Pacific Properties
146:
136:
128:
107:
89:
74:
64:
26:
21:
3997:History of San Francisco
3983:Goethe–Schiller Monument
3969:The Emperor Has No Balls
2468:
2117:Preparedness Day Bombing
1785:Tracklaying race of 1869
1780:Central Pacific Railroad
1763:"Building the Railroad"
1682:"Torchlight Procession"
1508:"Raising the Bear Flag"
1420:"Overland Trek Westward"
1049:History of San Francisco
1013:Preparedness Day Bombing
995:, the 1860s building by
646:Veterans of Foreign Wars
641:History of San Francisco
586:History of San Francisco
450:Rincon Annex Post Office
445:History of San Francisco
378:Architectural style
347:1.9 acres (0.77 ha)
115:History of San Francisco
51:mural series lining the
49:History of San Francisco
22:History of San Francisco
4261:Murals in San Francisco
3762:San Francisco Chronicle
2931:Art and Architecture SF
2596:. City of San Francisco
2549:San Francisco Chronicle
2146:"1916—Preparedness Day"
1938:"Expansion of the City"
1256:Juan Rodríguez Cabrillo
898:California State Senate
703:Republican Congressmen
592:San Francisco Chronicle
511:34th Street Post Office
4271:1940s in San Francisco
4095:Statue of Ashurbanipal
4075:San Francisco Fountain
3908:Admission Day Monument
3797:Brechin, Gray (1996).
3707:Brechin, Gray (1996).
3570:Conservators Converse
3517:San Francisco Examiner
3461:San Francisco Examiner
3309:San Francisco Examiner
3279:San Francisco Examiner
3227:San Francisco Examiner
3199:San Francisco Examiner
3075:San Francisco Examiner
3045:San Francisco Examiner
2836:San Francisco Examiner
2737:Brechin, Gray (1996).
2149:"The Waterfront–1934"
1969:Robert Louis Stevenson
1902:"Beating the Chinese"
1601:"Miners Panning Gold"
1241:"Spain Claims the Bay"
1117:Lobby, southeast wall
1025:United Nations Charter
993:Chinese Sand Lot riots
953:
854:
779:
756:
688:
636:
515:
328:37.79250°N 122.39194°W
299:101--199 Mission St.,
286:Show map of California
4129:Vaillancourt Fountain
3990:Guardians of the Gate
3922:California Volunteers
3544:San Jose Mercury News
3018:The Gazette and Daily
2927:"Rincon Annex Murals"
2864:on February 14, 2010.
2664:National Park Service
2629:on 27 September 2007.
2580:National Park Service
2515:Man at the Crossroads
1822:James King of William
1760:"Clearing the Ground"
1652:Sailing to California
1401:Fort Ross, California
951:
812:
774:
750:
683:
626:
491:
120:History of California
4190:Ludwig van Beethoven
4108:Three Heads Six Arms
3976:Goddess of Democracy
3791:at Wikimedia Commons
3293:article continuation
3211:Article continuation
2695:(November 5, 1964).
2264:20 ft 7 in
2225:48 ft 5 in
2064:18 ft 6 in
1984:Hubert Howe Bancroft
1905:17 ft 4 in
1877:Broderick–Terry duel
1810:20 ft 6 in
1727:15 ft 6 in
1613:California Gold Rush
1604:16 ft 4 in
1574:California Gold Rush
1535:Mexican–American War
1511:16 ft 4 in
1426:16 ft 4 in
1335:16 ft 4 in
1247:16 ft 4 in
1205:"Sir Francis Drake"
1159:16 ft 4 in
989:California Gold Rush
931:Designated Landmarks
883:Museum of Modern Art
863:Thomas Carr Howe Jr.
800:William S. Mailliard
769:James C. Auchincloss
544:Henry Morgenthau Jr.
425:Designated SFDL
333:37.79250; -122.39194
3592:"Murals, 1945–1949"
3463:. December 19, 1979
3020:. November 15, 1947
2880:The Living New Deal
2558:– via SFGATE.
2027:7 ft 6 in
1944:7 ft 2 in
1766:3 ft 1 in
1685:5 ft 5 in
1679:"Torchlight Parade"
1520:California Republic
1052:
871:Grace McCann Morley
694:— Congressman
324: /
47:) with Refregier's
4043:Pink Triangle Park
4037:Pan American Unity
4030:Mechanics Monument
3680:California History
3658:Additional sources
3387:Mill Valley Record
3361:Mill Valley Record
3229:. October 28, 1948
2666:. November 2, 2013
2621:Sawyer, Michelle.
2518:(1934) — Mural by
2502:(1936) — Mural by
2499:Life of Washington
2483:The cover art for
2315:Carol M. Highsmith
2200:Golden Gate Bridge
2127:Warren K. Billings
2105:"The Mooney Case"
2002:Adah Isaacs Menken
1896:"1870—Embarcadero"
1872:David C. Broderick
1849:"Civil War Issues"
1721:"Waiting for Mail"
1640:"Arrival by Ship"
1530:Flag of California
1525:Bear Flag Monument
1271:Portolá expedition
1046:
954:
757:
637:
601:Franklin Roosevelt
541:Treasury Secretary
382:Streamline Moderne
4243:
4242:
4223:
4222:
4170:Benjamin Franklin
4054:Point of Infinity
3787:Media related to
3281:. AP. May 2, 1953
3172:The Baltimore Sun
2963:on March 4, 2013.
2289:
2288:
1807:"Vigilante Days"
1217:Sir Francis Drake
1003:, the disastrous
808:J. Harry McGregor
804:hammer and sickle
761:Donald L. Jackson
705:Hubert B. Scudder
551:Gilbert Underwood
503:Eleanor Roosevelt
476:Hubert B. Scudder
436:
435:
420:November 16, 1979
412:Significant dates
4278:
4215:Ulysses S. Grant
4185:William McKinely
4148:
4147:
4048:Pioneer Monument
3929:El Cid Campeador
3886:
3879:
3872:
3863:
3862:
3855:
3847:
3832:
3830:
3828:
3813:
3811:
3809:
3786:
3772:
3770:
3768:
3759:
3750:
3748:
3746:
3734:
3724:
3722:
3720:
3703:
3692:10.2307/25157905
3674:
3651:
3650:
3648:
3646:
3635:
3629:
3628:
3626:
3624:
3613:
3607:
3606:
3604:
3602:
3588:
3582:
3581:
3579:
3577:
3561:
3555:
3554:
3552:
3550:
3535:
3529:
3528:
3526:
3524:
3509:
3503:
3502:
3500:
3498:
3492:
3484:
3473:
3472:
3470:
3468:
3453:
3447:
3446:
3444:
3442:
3431:
3425:
3424:
3422:
3420:
3410:"Merry-go-round"
3405:
3399:
3398:
3396:
3394:
3379:
3373:
3372:
3370:
3368:
3353:
3347:
3346:
3344:
3342:
3327:
3321:
3320:
3318:
3316:
3301:
3295:
3290:
3288:
3286:
3271:
3265:
3264:
3262:
3260:
3245:
3239:
3238:
3236:
3234:
3219:
3213:
3209:
3207:
3205:
3190:
3184:
3183:
3181:
3179:
3164:
3158:
3157:
3155:
3153:
3148:. April 12, 1948
3138:
3132:
3131:
3103:
3090:
3086:
3084:
3082:
3077:. March 17, 1948
3067:
3056:
3055:
3053:
3051:
3036:
3030:
3029:
3027:
3025:
3010:
3004:
3003:
3001:
2999:
2990:
2982:
2965:
2964:
2959:. Archived from
2948:
2942:
2941:
2939:
2937:
2922:
2913:
2912:
2910:
2908:
2897:
2891:
2890:
2888:
2886:
2872:
2866:
2865:
2854:
2848:
2847:
2845:
2843:
2828:
2822:
2821:
2819:
2817:
2804:
2757:
2756:
2754:
2752:
2734:
2713:
2712:
2710:
2708:
2689:
2676:
2675:
2673:
2671:
2650:
2631:
2630:
2625:. Archived from
2618:
2605:
2604:
2602:
2601:
2590:
2584:
2583:
2566:
2560:
2559:
2557:
2555:
2540:
2504:Victor Arnautoff
2462:
2459:
2453:
2442:
2436:
2433:
2427:
2424:
2418:
2415:
2409:
2406:
2400:
2397:
2391:
2388:
2382:
2379:
2373:
2370:
2364:
2361:
2355:
2352:
2346:
2342:
2336:
2333:
2327:
2324:
2318:
2311:
2305:
2302:
2261:"War and Peace"
2255:
2216:
2177:
2143:
2099:
2058:"Luther Burbank"
2055:
2018:
1935:
1893:
1843:
1801:
1757:
1718:
1673:
1657:Manifest destiny
1634:
1595:
1556:
1502:
1466:
1450:California Trail
1417:
1380:
1375:
1326:
1287:
1261:Age of Discovery
1238:
1222:Age of Discovery
1199:
1150:
1094:
1068:Planned Location
1053:
1045:
1038:
1021:Second World War
991:, the 1877 anti-
967:
923:Emmy Lou Packard
852:
841:
833:
825:
817:
790:
784:
699:
693:
605:Yalta Conference
571:Wendell C. Jones
555:Victor Arnautoff
526:
520:
404:
391:
339:
338:
336:
335:
334:
329:
325:
322:
321:
320:
317:
287:
281:
280:
274:
262:
256:
255:
249:
237:
231:
230:
224:
203:
188:
85:
83:
39:
31:
19:
18:
4286:
4285:
4281:
4280:
4279:
4277:
4276:
4275:
4246:
4245:
4244:
4239:
4219:
4160:Abraham Lincoln
4152:
4146:
4068:Roman Gladiator
4016:La Chiffonnière
3895:
3890:
3850:
3842:
3826:
3824:
3816:
3807:
3805:
3779:
3766:
3764:
3744:
3742:
3732:
3718:
3716:
3660:
3655:
3654:
3644:
3642:
3637:
3636:
3632:
3622:
3620:
3615:
3614:
3610:
3600:
3598:
3590:
3589:
3585:
3575:
3573:
3562:
3558:
3548:
3546:
3536:
3532:
3522:
3520:
3511:
3510:
3506:
3496:
3494:
3490:
3486:
3485:
3476:
3466:
3464:
3455:
3454:
3450:
3440:
3438:
3433:
3432:
3428:
3418:
3416:
3406:
3402:
3392:
3390:
3389:. April 9, 1954
3381:
3380:
3376:
3366:
3364:
3355:
3354:
3350:
3340:
3338:
3329:
3328:
3324:
3314:
3312:
3311:. June 11, 1953
3303:
3302:
3298:
3284:
3282:
3273:
3272:
3268:
3258:
3256:
3255:. March 6, 1953
3247:
3246:
3242:
3232:
3230:
3221:
3220:
3216:
3203:
3201:
3191:
3187:
3177:
3175:
3166:
3165:
3161:
3151:
3149:
3140:
3139:
3135:
3120:10.2307/1864779
3104:
3093:
3080:
3078:
3069:
3068:
3059:
3049:
3047:
3037:
3033:
3023:
3021:
3012:
3011:
3007:
2997:
2995:
2983:
2968:
2949:
2945:
2935:
2933:
2923:
2916:
2906:
2904:
2901:"Wendell Jones"
2899:
2898:
2894:
2884:
2882:
2874:
2873:
2869:
2856:
2855:
2851:
2841:
2839:
2830:
2829:
2825:
2815:
2813:
2806:
2805:
2760:
2750:
2748:
2735:
2716:
2706:
2704:
2693:Anton Refregier
2690:
2679:
2669:
2667:
2652:
2651:
2634:
2619:
2608:
2599:
2597:
2592:
2591:
2587:
2582:. July 9, 2010.
2568:
2567:
2563:
2553:
2551:
2541:
2534:
2529:
2494:
2480:
2471:
2466:
2465:
2460:
2456:
2450:Treasure Island
2443:
2439:
2434:
2430:
2425:
2421:
2416:
2412:
2407:
2403:
2398:
2394:
2389:
2385:
2380:
2376:
2371:
2367:
2362:
2358:
2353:
2349:
2343:
2339:
2334:
2330:
2325:
2321:
2312:
2308:
2303:
2299:
2285:
2265:
2243:
2226:
2204:
2187:
2165:
2153:
2131:
2109:
2087:
2083:Amadeo Giannini
2065:
2043:
2028:
2006:
1945:
1923:
1906:
1881:
1867:William M. Gwin
1856:
1831:
1811:
1789:
1767:
1745:
1728:
1706:
1686:
1661:
1644:
1622:
1605:
1583:
1566:
1544:
1540:Mexican Cession
1512:
1490:
1485:California Star
1476:
1454:
1440:Hastings Cutoff
1427:
1405:
1388:
1378:
1363:
1349:Mission Indians
1336:
1314:
1297:
1275:
1248:
1226:
1209:
1187:
1160:
1138:
1110:
1036:
999:of the western
983:]") to the
974:
965:
946:
915:
891:Artists' Equity
859:de Young Museum
853:
850:
847:
839:
838:
831:
830:
823:
822:
815:
796:John F. Shelley
792:
782:
781:
765:Senate election
742:American Legion
722:
701:
691:
690:
669:Waldo F. Postel
621:
583:
539:was created by
533:
528:
523:Anton Refregier
518:
517:
489:
440:Anton Refregier
332:
330:
326:
323:
318:
315:
313:
311:
310:
291:
290:
289:
288:
285:
284:
283:
282:
265:
264:
263:
260:
259:
258:
257:
240:
239:
238:
235:
234:
233:
232:
210:
190:
176:
167:
124:
81:
79:
75:Completion date
69:Anton Refregier
60:
58:
56:
40:
34:
32:
17:
12:
11:
5:
4284:
4274:
4273:
4268:
4263:
4258:
4241:
4240:
4238:
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4200:Willie McCovey
4197:
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4182:
4177:
4175:Mahatma Gandhi
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4019:
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3979:
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3965:
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3950:Dewey Monument
3946:
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3897:
3896:
3889:
3888:
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3860:
3859:
3858:
3857:
3848:
3833:
3822:SF City Guides
3814:
3793:
3792:
3778:
3777:External links
3775:
3774:
3773:
3751:
3738:Prized Writing
3725:
3704:
3675:
3665:
3664:
3659:
3656:
3653:
3652:
3630:
3608:
3583:
3556:
3530:
3519:. June 1, 1983
3504:
3474:
3448:
3426:
3414:Madera Tribune
3400:
3374:
3363:. June 4, 1954
3348:
3335:Sausalito News
3322:
3296:
3266:
3240:
3214:
3185:
3174:. May 24, 1948
3159:
3146:Madera Tribune
3133:
3091:
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2966:
2943:
2914:
2892:
2867:
2849:
2838:. May 26, 1941
2823:
2758:
2714:
2701:Joseph Trovato
2677:
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2478:In other media
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1964:Luther Burbank
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1954:Lotta Crabtree
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962:Mission Street
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902:Sausalito News
848:
813:
773:
753:Hubert Scudder
721:
718:
682:
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582:
581:Implementation
579:
567:Richard Haines
532:
529:
490:
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469:social realism
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4195:Simón Bolívar
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3596:SF Mural Arts
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3337:. May 7, 1953
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3305:"Senate News"
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1065:Planned Width
1054:
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1030:
1026:
1022:
1019:, the city's
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1010:
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787:Julian Huxley
778:
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709:Richard Nixon
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696:Richard Nixon
687:
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678:Haig Patigian
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654:Harry Bridges
651:
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609:Four Freedoms
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563:Philip Guston
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559:Arnold Blanch
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417:Added to NRHP
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4165:Robert Emmet
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2992:
2961:the original
2956:
2951:Spoor, Rob.
2946:
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2862:the original
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2668:. Retrieved
2657:
2627:the original
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2548:
2520:Diego Rivera
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2234:Liberty ship
2066:5.64 m
1995:
1959:Frank Norris
1946:2.18 m
1907:5.28 m
1768:0.94 m
1729:4.72 m
1618:Gold panning
1606:4.98 m
1513:4.98 m
1484:
1445:Donner Party
1435:Oregon Trail
1428:4.98 m
1337:4.98 m
1249:4.98 m
1202:"1579—Drake"
1161:4.98 m
1098:
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166:Rincon Annex
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4205:Willie Mays
4180:Sun Yat-sen
4101:The Thinker
4082:Shaking Man
3963:Dragon Gate
3943:Curved Form
3827:17 February
3808:17 February
3767:17 February
3745:17 February
3719:18 February
3645:20 February
3623:20 February
3601:17 February
3576:18 February
3549:18 February
3523:18 February
3497:20 February
3467:19 February
3441:19 February
3419:18 February
3393:18 February
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3315:18 February
3285:19 February
3259:18 February
3233:18 February
3204:18 February
3178:19 February
3152:16 February
3081:19 February
3050:18 February
3024:18 February
2998:18 February
2936:17 February
2907:20 February
2885:20 February
2842:19 February
2816:17 February
2751:18 February
2707:17 February
2670:15 February
2554:18 February
2266:6.27 m
2195:Golden Gate
2188:4.9 m
2154:4.9 m
2029:2.29 m
2021:"Cable Car"
1989:Jack London
1812:6.25 m
1687:1.65 m
1645:2.1 m
1637:"Migration"
1598:"Gold Rush"
1567:2.1 m
1477:2.1 m
1389:2.1 m
1298:2.1 m
1210:2.1 m
1183:Golden Gate
1015:, the 1934
919:India Basin
879:egg tempera
667:That fall,
531:Competition
331: /
319:122°23′31″W
307:Coordinates
98:egg tempera
4250:Categories
4136:Wave Organ
2600:2012-10-21
2527:References
2186:16 ft
2152:16 ft
2110:14 m
2108:46 ft
1979:Bret Harte
1974:Mark Twain
1857:2.4 m
1846:"Surveyor"
1702:A. M. Winn
1111:2.1 m
1082:Alternate
1009:Tom Mooney
977: [
966:US$ 26,000
906:Max Kortum
401:SFDL
316:37°47′33″N
129:Dimensions
1855:8 ft
1643:7 ft
1565:7 ft
1475:7 ft
1387:7 ft
1329:"Mission"
1296:7 ft
1208:7 ft
1109:7 ft
1056:Panel No.
1041:communist
843:Mailliard
827:Mailliard
619:Responses
495:Roosevelt
463:on white
438:In 1941,
368:Architect
209:and Spear
189: 107
4151:Portrait
4122:Untitled
3803:Found SF
3700:25157905
2993:ArtForum
2492:See also
2317:in 2012.
1011:for the
972:Subjects
849:—
835:McGregor
819:McGregor
740:and the
395:79000537
360:Built by
296:Location
137:Location
4228:Related
4153:statues
4089:Skygate
3128:1864779
1996:Mazeppa
1076:Planned
1051:murals
1027:in the
869:), and
785:—
521:—
487:History
461:tempera
207:Mission
108:Subject
80: (
3915:Aurora
3698:
3291:
3126:
2506:which
2345:walls.
1952:L–R: (
1178:Ohlone
1134:Ohlone
1103:]"
958:frieze
944:Design
889:, and
840:
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561:, and
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458:casein
185:
90:Medium
65:Artist
53:frieze
41:
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3900:Works
3733:(PDF)
3696:JSTOR
3491:(PDF)
3124:JSTOR
2469:Style
2292:Notes
1173:Miwok
1129:Miwok
1062:Title
1059:Image
465:gesso
352:Built
147:Owner
102:gesso
94:Mural
3829:2021
3810:2021
3769:2021
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1079:NRIS
798:and
707:and
639:The
569:and
535:The
428:1980
355:1940
344:Area
82:1948
78:1948
3688:doi
3116:doi
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1495:10
1100:sic
1031:.
980:sic
861:),
658:CIO
629:VFW
452:in
407:107
403:No.
390:No.
187:No.
100:on
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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