Nejslavnějším dílem umělce Anton Refregier je obraz First Color Study, Exhibition Hall, Community Center, New York World's Fair (perspective sketch for mural, Cultural Activities in the WPA, WPA Building) (1938) v muzeu Smithsonian American Art Museum v Washington, D.C.. Díky Untitled (detail of figure historic survey panel, mural study, Cultural Activities of the WPA, WPA Building, New York World's Fair, 1939) (1939) a for I say at the core of democracy, finally, is the religious element. All the religions, old and new, are there. Walt Whitman, Democratic Vistas, 1871. From the series Great Ideas of Western Man (1957) tvoří celek tří děl, která každý rozpozná. Náš katalog obsahuje 18 děl umělce Anton Refregier; níže je 18 děl, na která se svět dívá nejčastěji, každé s uvedeným rokem vzniku, muzeem, které jej uchovává, a důvodem jeho významu.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026.
Anton Refregier's monumental mural, "History of San Francisco," residing within the Rincon Annex Post Office near Fisherman’s Wharf, isn’t merely a depiction of a city; it’s a visceral…
Čtyři témata, která se v těchto dílech objevují nejčastěji, spolu s nejlepším příkladem každého z nich.
2 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Anton Refregier | Obrazy z tohoto seznamu |
|---|---|---|---|
 Library of Congress |
Washington, D.C. | 14 | Untitled (AQRPH5), Untitled (AQRPH3), Untitled (AQRPGD) |
 Smithsonian American Art Museum |
Washington, D.C. | 2 | First Color Study, Exhibition Hall, Community Center, New York World's Fair (perspective sketch for mural, Cultural Activities in the WPA, WPA Building), Untitled (detail of figure historic survey panel, mural study, Cultural Activities of the WPA, WPA Building, New York World's Fair, 1939) |
First Color Study, Exhibition Hall, Community Center, New York World's Fair (perspective sketch for mural, Cultural Activities in the WPA, WPA Building) (1938), Smithsonian American Art Museum, Washington, D.C.. Následují Untitled (detail of figure historic survey panel, mural study, Cultural Activities of the WPA, WPA Building, New York World's Fair, 1939) (1939) a for I say at the core of democracy, finally, is the religious element. All the religions, old and new, are there. Walt Whitman, Democratic Vistas, 1871. From the series Great Ideas of Western Man (1957).
33 let: dílo First Color Study, Exhibition Hall, Community Center, New York World's Fair (perspective sketch for mural, Cultural Activities in the WPA, WPA Building) pochází z roku 1938 a Anton Refregier se narodil/a v roce 1905.
First Color Study, Exhibition Hall, Community Center, New York World's Fair (perspective sketch for mural, Cultural Activities in the WPA, WPA Building), Untitled (detail of figure historic survey panel, mural study, Cultural Activities of the WPA, WPA Building, New York World's Fair, 1939), for I say at the core of democracy, finally, is the religious element. All the religions, old and new, are there. Walt Whitman, Democratic Vistas, 1871. From the series Great Ideas of Western Man, Untitled (AQRPH5), Untitled (AQRPH3), Untitled (AQRPGD), Untitled (AQRPGR), Untitled (AQRPH7), Untitled (AQRPGM) a Untitled (AQRPGX). Výše uvedené pořadí uvádí rok a muzeum každého díla.
Náš katalog obsahuje 18 děl autora Anton Refregier z let 1938 až 1957.
Většina z nich se nachází v Library of Congress (Washington, D.C.) a Smithsonian American Art Museum (Washington, D.C.). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1930s: 2 z 18 děl na této stránce pochází z tohoto období, z nich First Color Study, Exhibition Hall, Community Center, New York World's Fair (perspective sketch for mural, Cultural Activities in the WPA, WPA Building).
Nejstarší dílo na této stránce pochází z First Color Study, Exhibition Hall, Community Center, New York World's Fair (perspective sketch for mural, Cultural Activities in the WPA, WPA Building) (1938), nejnovější z for I say at the core of democracy, finally, is the religious element. All the religions, old and new, are there. Walt Whitman, Democratic Vistas, 1871. From the series Great Ideas of Western Man (1957).
American history (2), Wpa art project (2) a Group portraiture (2), z celkových 18 děl na této stránce.
Social realism, jak dokazují obrazy na této stránce.
Untitled (AQRPH5), Untitled (AQRPH3) a Untitled (AQRPGD) patří mezi 14 děl na této stránce, která má v zastarání Library of Congress, Washington, D.C..
Anton Refregier stands as a monumental figure in the tapestry of American art history, a painter whose brushstrokes captured the very soul and struggle of a nation in transition. Born in Moscow on March 20, 1905, Refregier’s journey was one of profound migration and cultural synthesis. Emigrating to the United States in 1920, he brought with him a perspective shaped by the vastness of his origins and a hunger for the artistic possibilities of his adopted home. His early years were defined by a rigorous pursuit of mastery, beginning with a transformative scholarship to the Rhode Island School of Design in 1921. This formal training provided him with a classical foundation, yet it was his later encounters with the avant-garde that would truly ignite his creative spirit.
The trajectory of Refregier’s career was marked by an extraordinary ability to blend meticulous craftsmanship with the raw, emotive power of modern movements. In New York City during the mid-1920s, he honed a delicate skill for replicating the works of masters such as François Boucher and Jean-Honoré Fragonard, an endeavor that instilled in him a deep reverence for artistic heritage. However, his 1927 travels to Munich introduced him to the burgeoning influences of Abstract Expressionism under the legendary mentorship of Hans Hofmann. This exposure to more fluid, expressive forms allowed Refregier to expand his stylistic horizons, ensuring that even his most grounded social realist works possessed a dynamic, modern vitality.
As the shadows of the Great Depression descended upon America, Refregier’s art found its true purpose. Living within the Mount Airy Artists' Colony in Croton-on-Hudson, he became a witness to the widespread hardships of the era. This period of economic upheaval deeply informed his humanist philosophy; he famously observed that as people grew poorer in possessions, they became poorer in their ability to enjoy life. This empathy for the common man became the heartbeat of his work. Through the auspices of the Works Progress Administration (WPA) Federal Art Project, Refregier found a platform to translate these societal struggles into large-scale narratives that demanded public attention.
His involvement with the WPA allowed him to move beyond the canvas and onto the walls of the American landscape. His work during this time was characterized by Social Realism, a movement dedicated to portraying everyday life and systemic injustices with unflinching accuracy. He eschewed the comforts of romanticized imagery, choosing instead to present scenes of labor, displacement, and community strength. This commitment to truth-telling through art solidified his reputation as an artist who did not merely observe history but actively participated in its documentation.
Perhaps Refregier’s most enduring achievement is the monumental mural series, The History of San Francisco. Commissioned in 1941 and executed between 1940 and 1948, this sprawling epic consists of twenty-seven panels located within the Rincon Annex Post Office. Using casein tempera on white gesso over plaster, Refregier created a visceral narrative that spans centuries of the city's complex evolution. The scale of the work—covering over 2,457 square feet—is matched only by its emotional depth and historical bravery.
The murals are celebrated for their stark honesty, particularly in their depiction of San Francisco’s fraught relationship with marginalized communities. One of the most poignant and unsettling panels portrays the 1877 anti-Chinese Sand Lot riots, capturing a moment of intense violence and injustice with a muted palette of browns, grays, and ochres. Yet, within this grit, Refregier utilized strategic bursts of red and yellow to punctuate moments of profound symbolic significance. This series was not without controversy; in the 1950s, it faced congressional scrutiny over themes deemed inconsistent with certain American ideals, yet the murals survived as a testament to the artist's courage.
Refregier’s life and work represent a bridge between the classical traditions of Europe and the gritty, democratic spirit of mid-century America. His ability to weave together personal experience, historical record, and social critique ensures that his legacy remains as vibrant and essential today as it was during the height of the WPA era.
