The Works Progress Administration's Federal Art Project (WPA/FAP), part of President Franklin D. Roosevelt's New Deal to stimulate the economy and create jobs during the Great Depression, employed thousands of artists between 1935 and 1943 to create artworks for public spaces. This groundbreaking democratic experiment celebrated and supported American art and artists by providing a source of income, enhancing public buildings, and enriching the lives of Americans in the throes of the Great Depression. The Art Commission reviewed hundreds of Federal Art Project commissions during this period, including murals, sculpture and mosaics. A significant portion of the WPA/FAP commissions in our collection were installed in public health and hospital facilities. There is a noticeable shift in theme and tone depending on the location of murals. Murals in children's wards often focused on nursery rhymes and fanciful themes, while those in nurses' recreation rooms were "relaxing" and focused on familial scenes. Murals in doctors' recreation rooms focused on the history and progress of medicine, while those in psychiatric wards sought to provide therapy for mental distress.

In 1832, Neziah Bliss (1790–1876) and Eliphalet Nott (1773–1866), business partners in steamship production, began purchasing acres of farmland in Greenpoint and laying out streets. Spurred by a period of economic growth and an influx of European immigrants during the 1850s, more than a dozen shipbuilding firms moved across the river from Manhattan and turned the neighborhood into a major shipbuilding center. Franklin Street, named after Benjamin Franklin, was established as its commercial strip with shops catering to local industries. During the Civil War, the United States Navy commissioned several major ironclad war ships from the Continental Iron Works, which occupied a seven-acre stretch of the Greenpoint waterfront and employed 1,400 men. The first of these, the Monitor, famously defeated the Merrimac, a Confederate ironclad ship, in a standoff in Virginia in 1862, just a month after its launch. The Monitor was a source of pride for the neighborhood and is commemorated to this day by a monument in Monsignor McGolrick Park. While shipbuilding declined after the Civil War, Greenpoint’s other industrial enterprises, which included porcelain making, glass making and oil refining, continued to thrive. The influential Union Porcelain Works on Eckford Street helped shape American porcelain design. Its owner, Thomas C. Smith, purchased a tract of land on Milton Street in the 1860s and constructed a number of homes there, decorating some of their hearths with blue and white porcelain tiles. It was claimed they were the only tiles manufactured in the United States that could withstand such heat. The Greenpoint Glass Works, another local company, gained such acclaim that Mary Todd Lincoln commissioned table settings for the White House. Greenpoint and Williamsburg also formed a hub for oil refineries. Greenpoint’s residential development was closely aligned with its industrial growth, as workers’ housing was built inland from the waterfront. Large, elaborate rowhouses were constructed for owners and managers, while modest rowhouses, tenements and apartment buildings were built for laborers. Much of this construction occurred during the second half of the 19th century, and the neighborhood still displays a variety of architectural styles popular at that time. Early rowhouses contain elements of the Italianate and Greek Revival styles, while later styles include French Second Empire, neo-Grec, Queen Anne and Romanesque Revival. Some of the neighborhood’s later institutional buildings, such as the Greenpoint Savings Bank and the Mechanics and Traders Bank, were designed in the Classical and Renaissance Revival styles. The neighborhood also boasts many fine churches, designed in the Gothic Revival, Victorian Gothic and Romanesque Revival styles, among others. There are two historic districts in Greenpoint: the Greenpoint Historic District, located in the neighborhood’s core, and the Eberhard Faber Pencil Company Historic District, which covers roughly one block. A section of the neighborhood is also a National Register of Historic Places District.

84 Herbert Street Thomas Henry Poole, 1891–93 The congregation of St. Cecilia’s formed in 1869 and originally occupied a small wood-frame church built in 1871. Over the course of the 50-year leadership of Monsignor McGolrick (1857–1938), the congregation vastly grew and the church set out to construct a larger building. This structure, which can hold roughly 1,400 people, is constructed of Georgia marble and limestone, and its altar is made of a cream-colored, French limestone called Caen stone. It features an imposing corner bell tower, capped with a copper roof.

Roman Catholic Church of St. Nicholas, June 1, 1937. St. Nicholas (center, at the intersection of Powers and Olive Streets) formed the center of the 19th century German immigrant community in Williamsburg. The 1866 church building seen in this photograph was converted to a school run by Dominican nuns who lived on the grounds. While the storefronts are gone and the remaining buildings have been re-sided, the school, without its belfry, still stands.

Graham and Metropolitan Avenues, Williamsburg, Brooklyn; shot by Berenice Abbott. June 1, 1937. The corner building includes intricate cornice work with raised panel, dated 1893, topped with a lute sculpture, and a hipped pyramidal tower. Today, the wooden clapboards have been replaced by vinyl siding and the facade has been stripped of any ornamentation. At lower left is the entrance to the Graham Street Station of the BMT Canarsie Line (today’s L train).