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Facts Forum News, Vol. 5, No. 2, February 1956
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Facts Forum. Facts Forum News, Vol. 5, No. 2, February 1956 - File 015. 1956-02. University of Houston Libraries. University of Houston Digital Library. Web. August 4, 2020. https://digital.lib.uh.edu/collection/1352973/item/909/show/854.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

Facts Forum. (1956-02). Facts Forum News, Vol. 5, No. 2, February 1956 - File 015. Facts Forum News, 1955-1956. University of Houston Libraries. Retrieved from https://digital.lib.uh.edu/collection/1352973/item/909/show/854

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

Facts Forum, Facts Forum News, Vol. 5, No. 2, February 1956 - File 015, 1956-02, Facts Forum News, 1955-1956, University of Houston Libraries, accessed August 4, 2020, https://digital.lib.uh.edu/collection/1352973/item/909/show/854.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Title Facts Forum News, Vol. 5, No. 2, February 1956
Alternate Title Facts Forum News, Vol. V, No. 2, February 1956
Series Title Facts Forum News
Creator
  • Facts Forum
Publisher Facts Forum
Date February 1956
Language eng
Subject
  • Anti-communist movements
  • Conservatism
  • Politics and government
  • Hunt, H. L.
Place
  • Dallas, Texas
Genre
  • journals (periodicals)
Type
  • Text
Identifier AP2.F146 v. 5 1956; OCLC: 1352973
Collection
  • University of Houston Libraries
  • Facts Forum News
Rights No Copyright - United States
Item Description
Title File 015
Transcript tight: Anton Refregier, the artist who pointed the widely discussed murals in the Rincon Post Office in Son Francisco, was Paid $26,000 of the taxpayers' money for this assignment. Protests from outraged citizens finally forced a congressional hearing on these slanted murals, but he was not even colled to testify as to what part of this fee was diverted to any of the 33 Communist fronts with which he was connected. The fight to have these murals removed is still raging. I ""'Ju^rtV^ ??'°w: Ce"°in m<1<,e'rl "ortists" exhibit ding the party , b|Q , „,..„ ■■■-■--. -«| f blank canvas as art. Their conception of ce remarked_ J th,s type of ar( .$ )o ,a ,s Communist r( Mr|(| ^ ^^.^ fra£ment[ from (rQg ments till nothing is left. as present in st conference on bring America". Years later, » t record with y as commissione". lew Interior Bull" itted fee of ""I rid early me* Clubs and l* 1 today as if isplayed ar* iughoutthe'1 of these saOJ nd over afifl ers of literally fronts duriw r was one 1 ,hn Reed CI if Artists El1" Despite this long Communist-front Congrcssm;"1 fecord and his protests of complete ty Associati0" nek of political knowledge, Mr. Grop- otorious Red* J,<rr nevertheless conveniently took the ropper was p™'fth Amendment when asked if he rational Con11" ?'ds a Communist. He admitted he ill Kharkov, $ 'ad received between four thousand eriean artists *nd five thousand dollars for a mural The sab«We c"d for the New Interior Building the direct o"|" Washington. When asked whether In i cable to*c' llatl contributed any of this money ner 'reoortcd ?° the Communist party, Gropper accomplish"*81" took the Fifth Amendment, nists in the & n: You see I am an artist. I am primarily an artist. I am not in with this poltieal business that you people arc all involved in. WORKS OF WHOSE ART? nbitions of '"St,, n 1947 the State Department paid ings on the u™attty-five thousand dollars of vour tax it-rise ot «,i(Jnoney for a collection of se\ the West ^"n-r like Berkeig Angeles in < New York >rk on a rw* 11 ie ""} isands <« in this paint" iary Greeting imunist-froi at of Roclf^ [heels" w hundred. Ve«] Wministrj _jventy-nine orks of art to be shown abroad as amples of American culture. At least ne of the contributing artists had °nt records. The project was quieklv opped when the then Secretary of " s;"'dS "n>#ate, George Marshall, received of protests from congressmen »nd indignant citizens. The War As "'* *ts Administrat A' whole eollec from ibout ten cents aliil'-'il A vear later Administration later disposed of llection tor $5,544.45, on the dollar. year later an "art gallery on was set up to tour Veteran hundred, i <" ■"ministration hospitals. Congress- the Senate .JKan Dondero exposed the front rec- lee on \n^\ Pacts Foium \|.;ws, February, 1956 A Wheel's ords of seventeen artist whose works were included in the project. The sinister purpose behind such an otherwise harmless idea was to give these Communist-front artists a sort of "patriotism by association" halo in that their modernistic daubs had presumably benefited recuperating veterans. They could also later claim that they had at least been inferentially "cleared of any taint of subversion" by virtue of the fact that the United States government had displayed their works in veterans hospitals. You have to get up awfully early to outsmart Communists. The Communists are tireless. in boosting each other's products. They are also highly adept at infiltrating art juries. Recently the National Council for U. S. Art announced the first competition for art work to decorate the United Nations Ruilding in New York. The ten jurors include at least three with Communist-front records, Leon Kroll, Paul Manship, and William Zorach. Six of the eighteen members of the Visual Arts Panel of the U. S. National Committee of UNESCO are connected with Artists Equity. This is a cozy "you scratch my back and I'll scratch yours" arrangement. Small wonder that so many young and struggling artists go left. They are smart enough to realize that with such obvious infiltration, and in some cases control, of art juries and panels by notorious left-wingers, anti-Communist painters do not stand much of a chance. For example, Anton Refregier was selected from eighty-six other contestants to paint the Rincon Post Office murals in San Francisco. There were three artists on the jury; two who voted for Refregier had long front records. Outraged protests from patriotic groups finally forced a congressional hearing on these slanted murals. Refregier himself was not even called to testify as to what part of the twenty- six thousand dollars of taxpayers' money which he received was diverted to any of the Communist fronts with which he was connected. Despite the protests of large groups of patriotic citizens, the objectionable murals painted by a Communist sympathizer are still on the walls of a U. S. government building. Who benefited by the selection of Anton Refregier as the artist? "AND A LITTLE CHILD SHALL LEAD THEM" In the story of the Emperor s clothes, it was the voice of one small child which exposed the whole carefully built-up hoax. "Rut he has nothing on!" exclaimed the child. The Emperor, realizing that the child spoke the truth, rushed back to his palace to turn out the rascals who had made such a fool of him. The clear-sighted vision of small children is apparently not given to the blind worshipers of "modern art." Consider the reply of Stanley Marcus, chairman of the Dallas Museum Board, to a resolution of the Dallas Public Affairs Luncheon Club. The resolution protested the exhibition of works by Communist and pro-Communist artists at the local museum. "Tommyrot!" sneered Mr. Marcus. Christianity is today the main target of world communism. What more subtle way could be devised to destroy children's faith in religion than to show Christ on the cross as a gigantic insect? Nothing is more despicable in "modern art" than the vulgarity and ugly distortion in religious themes. The real thinking behind these sacrilegious paintings is given away by a critical review in the Communist Daily Peoples World of April 6, 1955. Criticizing Rico Lebrun's "Crucifixion" series, the review says: In attempting to depict man's inhumanity to man there was a deep and important fallacy. The carpenter who Page 13 jus. Fel>n>" I
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