page_title: Coit Tower
section_title: Mural project
hierarchical_section_title: Coit Tower / Mural project
context_page_description: Coit Tower is a 210-foot tower in the Telegraph Hill neighborhood of San Francisco, California, offering panoramic views over the city and the bay. The tower, in the city's Pioneer Park, was built between 1932 and 1933 using Lillie Hitchcock Coit's bequest to beautify the city of San Francisco. It was added to the National Register of Historic Places on January 29, 2008.
  The art deco tower, built of unpainted reinforced concrete, was designed by architects Arthur Brown, Jr. and Henry Howard. The interior features fresco murals in the American Social Realism style, painted by 25 different on-site artists and their numerous assistants, plus two additional paintings installed after creation off-site.
  Also known as the Coit Memorial Tower, it was dedicated to the volunteer firemen who had died in San Francisco's five major fires. Although an apocryphal story claims that the tower was designed to resemble a fire hose nozzle due to Coit's affinity with the San Francisco firefighters of the day, the resemblance is coincidental.
context_section_description: The Coit Tower murals in the American Social Realism style formed the pilot project of the Public Works of Art Project, the first of the New Deal federal employment programs for artists. Ralph Stackpole and Bernard Zakheim successfully sought the commission in 1933, and supervised the muralists, who were mainly faculty and students of the California School of Fine Arts (CSFA), including Maxine Albro, Victor Arnautoff, Ray Bertrand, Rinaldo Cuneo, Mallette Harold Dean, Gordon Langdon, Clifford Wight, Edith Hamlin, George Albert Harris, Otis Oldfield, Suzanne Scheuer, Hebe Daum, Jane Berlandina, Frederick E. Olmsted Jr., Jose Moya del Pino and Frede Vidar. These 25 artists (chosen by Walter Heil, director of the de Young Museum, together with other officials) were each paid $25 to $45 per week to depict "aspects of life in California." The most well-known of them were assigned sections that were 10 by 36 feet (3.0 by 11.0 m) in size, while less famous artists were confined to 10 by 4 feet (3.0 by 1.2 m).
  The artists were committed in varying degrees to racial equality and to leftist and Marxist political ideas, which are strongly expressed in the paintings. Bernard Zakheim's mural Library depicts fellow artist John Langley Howard crumpling a newspaper in his left hand as he reaches for a shelved copy of Karl Marx's Das Kapital (here spelled as Das Capital) with his right. Workers of all races are shown as equals, often in the heroic poses of Socialist realism, while well-dressed racially white members of the capitalist classes enjoy the fruit of their labor. Victor Arnautoff's City Life includes the periodicals The New Masses and The Daily Worker in the scene's news stand rack; John Langley Howard's mural depicts an ethnically diverse Labor March as well as showing a destitute family panning for gold while a wealthy, heavily caricatured ensemble observes; and Stackpole's Industries of California was composed along the same lines as an early study of the destroyed Man at the Crossroads.
  The youngest of the muralists, George Albert Harris, painted a mural called Banking and Law. In the mural, the world of finance is represented by the Federal Reserve Bank and a stock market ticker (in which stocks are shown as declining) and law is illustrated by a law library. Some of the book titles that appear in the law library, such as Civil, Penal, and Moral Codes, are legitimate, while others list fellow muralists as authors, in a joking or derogatory manner.
  After Diego Rivera's Man at the Crossroads mural was destroyed by its Rockefeller Center patrons for the inclusion of an image of Lenin, the Coit Tower muralists protested, picketing the tower. Sympathy for Rivera led some artists to incorporate references to the Rivera incident; in Zakheim's Library panel, Stackpole is painted reading a newspaper headline announcing the destruction of Rivera's mural.
  After most of the Coit Tower murals had already been completed, the 1934 West Coast waterfront strike, much of which was taking place nearby at the foot of Telegraph Hill, caused government officials, shipping companies, some union leaders and the press to raise fears about communist agitation. This "red scare" has been identified as playing a "crucial role" in a subsequent controversy that mainly focused on two of the murals; the first being a set of three small frescoes where Clifford Wight portrayed capitalism, the New Deal and communism, the three prominent economic systems of the era, with the communism part containing a hammer and sickle and the caption “Workers of the World Unite.” The second was John Langley Howard's Industry mural (designed with the support of his architect brother Henry Howard), which depicts California industrial scenes including out-of-work men, and angered conservatives by showing a banner of the communist periodical Western Worker above a crowd of workers. On June 23, 1934, the conservative banker Herbert Fleishhacker, the most powerful member of the committee allocating funds from the Public Works of Art Project, asked Heil to inspect the art, who tel
caption: Industry both in the city and out in the fields was an important theme in the murals. (From Maxine Albro's Agriculture in California.)
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