William Gropper was a Jewish American artist born to share the woes and wonder of American society. His art opens a window into the lives of working-class Americans in the mid-1900s, exploring what it is to be Jewish and highlighting folk tales that shaped American storytelling.
After the Holocaust, Gropper’s work centered on social justice issues as well as his allegiance to his Jewish identity. The Trout Gallery’s exhibit “William Gropper’s America” will open your eyes to the angst and joy of the United States as Gropper saw it.
Two pieces shown in the gallery “Grandfather” (1961) and “Market on 38th Street” (1965) show the struggle of the working class. The subject of “Grandfather,” an elderly man worn down by the years, stands with a basket while a market behind him bustles with people. Lines on his face and the sharp arch of his brow offers an idea of the life he has lived — one of hard work and sleepless nights. A working man with the commotion of the city behind him alludes to the movement his life may have previously had. Even though you can see the years on him, he seems content. Eyes heavenward with folded hands, the piece seems to communicate the character’s personal calm.
On the other hand, displayed directly below is an image of chaos and movement providing further context to the market street scene. Men move about carrying heavy loads, moving clothing racks as part of a system running smoothly, a system for the upper-class. The characters of the scene are worn and rough, chatting as they work. A community within the restrictions of their world become visible. On the far left, we see a woman who appears to be waiting for the men so that she can get to lunch, as indicated by the sign behind her. Her slight frame reflects the world she represents as she is quite literally divided from the working men by a wall. Gropper’s work clearly communicates his disdain for the capitalist system without beating around the bush. Each piece is so powerful that he was placed on the blacklist during Senator Joseph McCarthy’s “Red Scare.”
This exhibit also shows “Crisis” (1953-1957), part of Gropper’s collection “The Capriccios,” illustrating the horror of New York City’s Triangle Shirtwaist Factory fire. The image shows a falling fire escape with women depicted in eerie, ghost-like forms. As a statement for workers’ rights and safety, you can feel the fear and pain of the workers as they fall, which evokes a yearning to act as their savior. The piece was in line with Gropper’s social justice efforts, however, his personal connection to this particular fire was not just for workers’ rights — he had lost his aunt to this fire. It was not just 123 strangers to him, it was his aunt and 122 women with whom she worked with every day.
The Trout Gallery spotlights Gropper’s Jewish identity, in addition to his political statements. Five works from his “The Shtetl” (1970) collection show aspects of his life on the Lower East Side’s Jewish community. Studying, preparing food, working and living — these four subjects communicate what it is to live as a Jewish American. The people depicted were part of a greater community, bound together through their struggles and traditions. The United States consists of a myriad of people, working together and struggling together; here, Gropper shows his corner of the country and what it means to him.
The expressions on these individuals range from contentment to exhaustion, but each piece through it’s vibrant palette communicates an overall positive feeling.
Part of Gropper’s greater American identity was his fascination with folklore. Characters like Rip Van Winkle, Finn McCool and Joe Magarac show some of the great American folktale heroes. Icons of the working-class like Joe Magarac, a steelworker who was both honorable and hardworking, show characteristics that Gropper would have grown up respecting. As the son of a working-class family, the ideals and attitude he grew up with flow through his art in every way. It’s obvious why these folktales demonstrating American grit, often by immigrants like Joe Magarac from Eastern Europe, were inspiring to a child whose own parents immigrated from Romania and Ukraine.
As you walk through the exhibit, open till Oct. 19, you will learn what being an American meant to William Gropper. Struggle, protest and community work together to make the beautiful symphony that is the American kaleidoscope.