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.

1 Sutton Place, July 6, 1927. Architect Rosario Candela and the firm Cross and Cross designed this 13-story Italian Renaissance building in 1927. The structure was funded by the Phipps family, former Pittsburgh steel barons. Though Phipps was known for funding lower- and middle-income housing, this building was created for the city's elite, who were moving east from their former massive mansions on Fifth Avenue. The large three- and four-bedroom apartments and private river-facing garden attracted wealthy residents, as the rest of Sutton Place became a street of exclusive addresses. Practicality and exclusivity came together in many Candela-designed buildings. The prime building in the Sutton Place enclave along the East River in midtown Manhattan, 1 Sutton Place South featured a porte-cochère for cars and people behind a trio of two-story arches.

City Hospital Blackwell's Island ca. 1896 The City Hospital on Blackwell's Island was originally called Penitentiary Hospital due to its nature as the hospital for the inmates of Blackwell's Penitentiary. Built in 1832, its name changed to the City Hospital Blackwell's Island after a fire caused its reconstruction in 1861. The new building, designed by James Renwick Jr. and constructed by inmates, served both the prisoners and the city's poorer inhabitants. Its name changed once again to Charity Hospital in 1873 due to the nature of its work. This, in turn, caused Blackwell's Island to be renamed Welfare Island in 1921. To complete all this renaming, the island itself was redesignated Roosevelt Island in 1973. WIth many of the City Hospital's facilities growing obsolete, the City Hosptial was moved to Queens in the 1950s. The hospital building on Roosevelt Island was abandoned and left to ruin. Though it has fallen into disrepair, the Landmarks Preservation Committee granted it landmark status in 1975 for its important architectural details.

River House ca. 1932 The River House a luxurious 64-unit apartment building overlooking the East River. Designed by the architects Bottomley, Wagner and White in 1931 it has a 14-story U-shaped base creating a courtyard and a 26-story tower. This innovative grand gray brick and limestone building with elaborate detailing and terrace garden rooftop marked a turning point in the history of skyscraper housing; combining the courtyard with the tower. Vincent Astor, Archibald M. Brown, Edward B. Meyer and J. B. Patterson were among the residents in these exclusive accommodations located uncomfortably near dilapidated tenements. This very condition of extreme class distinction may have inspired Sidney Kingsley's play, Dead End.

The nurses plunged her into an ice-cold bath, pulled her out sopping wet, and threw a sheer flannel slip over her head. Large black letters spelled “Lunatic Asylum, B.I., H. 6.” across the garment. Nellie Brown, the now-freezing woman, was relegated to Blackwell’s Island, Hall 6.

Rosario Candela played a major role in shaping the architectural legacy of 20th-century Manhattan. Candela's elegant yet understated high rises created the look of New York urbanism between the world wars. This walking tour takes you through some of Candela's iconic buildings on the Upper East Side.

The Campanile (far left), 1932. The Campanile is a luxury co-op building that was completed in 1927. Designed by Van Wart & Wein, the 14-story building sits on a bluff at the end of a dead-end street. The Campanile is oriented toward the East River with balconies and bay windows on its eastern facade and once included a private entrance to the boat landing for the Mayfair Yacht Club. Famous tenants of 16 apartments included Greta Garbo, actor Rex Harrison, and members of the Heinz and Rothschild families. Alexander Woollcott, critic, member of the Alquonquin Roundtable and good friend to Dorothy Parker, lived here in the 1930s. Other members of the Roundtable visited and given its peculiar location considered naming the home, "The-Little-Apartment -on-the-East-River-That- It-Is-Difficult-to-Find-a-Taxi-cab-Near." Parker decided instead to call it "Wit's End."

Penitentiary and City Hospital, on the south end of Welfare Island; as seen from the Queensboro Bridge, March 5, 1933. In 1832, on what was then called Blackwell's Island, a large penitentiary was constructed. The long imposing arcaded structure looked a bit like a castle with crenelations at the roofline and turrets. This complex included areas for both male and female prisoners. In the 1830s hundreds of prisoners were head there and spent their days in labor, often breaking rocks. Boss Tweed was imprisoned here in 1874, though he had a private unlocked room and a secretary. Though the island prison likely had a long history of poor conditions and corruption, it was not until the early 20th century that the conditions were widely made public by Katharine Davis, the female Commissioner of Correction in 1914. Despite the accusations of overcrowding, drug-dealing, and favoritism the prison survived until reforms by Mayor La Guardia in the mid 1930s finally prompted the closing of the facility and the removal of prisoners to the nearly complete complex on Riker's Island.