620:"Mural painting, as it has been carried on for a long time and as it is practiced generally today, has ceased to have any vital relation to the wall or to architecture in general, largely, I think, because so little of it is done on the wall. Being done always in the seclusion of the studio, it has lost the intuition of the wall and its discipline of scale and color. This discipline of the wall creating in place and within the proper limitations of materials and method is perhaps the most vital single factor in great mural design. Without these real limitations it has become simply the large easel picture pasted on the wall, generally a bit stilted and mannered and self-conscious, or else with limitations imposed on it that are so arbitrary and foreign that they are meaningless. The shallow worship of sunlight in landscape, the doctrinaire ideas of âtrueâ color that deny the validity of the earth colors with their somber magnificence of reds and browns, the banal tricks of oil painting, have left us stammering before the wall, repeating shopworn theatrical commonplaces, making empty gestures for design, helpless with gold, not knowing the difference between enrichment and display, without even the language of a design that has monumental dignity of the authority of true decoration. If any true monumental style is ever evolved in this country it will have to be evolved on the wall, as it has been in every other instance."
505:
artists supported the strikes, but their support was perhaps minimal compared to the ruckus that was taking place with the longshoremen. However, public art is always inflammatory. Lee writes, "By June, Fleishhacker was leading a movement to destroy the murals, finding the work of some painters wholly unacceptable and, as we will observe, dangerous. The contentious
Zakheim came under intense fire, and his mural, along with several others, was slated for whitewashing." To kill the fire, some influential patrons began lifting up the previous decades' art leaders - Boynton (with substantial mural experience) was chosen as the new "spiritual leader," as Lee says. "To the surprise of Zakheim, who proposed the mural program, and Arnautoff, who directed the daily work, Boynton was named high priest... were given a lineage, traced back to the post-PPIE productions and the Dixon-Boynton debates, not to Rivera."
565:
sheer ignorance because many people didn't think it was worth saving." This is what occurred with the
Modesto downtown post office. Remodeled in the 1960s, several of Ray Boynton's murals were removed. The job's contractor asked if any of the workers would like to buy them - otherwise they would be scrapped. One worker bought them but had no place to display them; they were stored in a shed for the next 40-plus years. After reading about the renovation of the post office and of the missing murals, a local Modesto man thought he had seen the artwork at a family member's house. This proved to be the case and the family donated them to the city. Bernstein further explained:
544:
469:. After intense mudslinging by journalists, editorial writers, and competing groups of artists, the location was changed to a private lunch club at the Stock Exchange. One editorial proclaimed low level/less experienced artists as being equal to those who rubbed elbows with Rivera in grandiose terms. Allegations about Rivera were common on the subjects of Communism and being an immigrant. Both artists would learn from this experience, and Boynton would be able to be seen as a moderate later in the 1930s.
535:. The last years of his life were spent in trekking through unfrequented areas of Mexico, New Mexico, and Arizona, accompanied by his artist wife, Beryl. The Boynton studio in Santa Fe, which he remodeled from an ancient adobe dwelling, was the center of these explorations. It has become one of the landmarks for artists and writers of the Southwest. Ray Boynton died from cancer September 26, 1951 in Albuquerque, New Mexico. He had no children.
500:. Most of the murals have historical reflections, but they do not seem to tell a chronological story. He was known as the âDean of Frescoesâ at Coit Tower. Suspicions arose from journalists and others that the paintings would take on a political stance "left of center," and soon small battles were emerging in public about the direction that should be taken; the suspicions were not unfounded. These artists, led by Zakheim, had formed an
606:
561:, with help from Mary Fabilli, put on an exhibition entitled Ray Boynton and the Mother Lode: The Depression Years. The museum guild purchased a large collection of Boynton's drawings and paired them with accounts from those men and women who came to look for gold during the Great Depression. A catalog - carrying the exhibition's name - with a biography and accounts from the miners was also produced.
25:
485:
1931. It is interesting that these two artists would ascend for the very reasons that had been charged against Diego Rivera only a couple years before. Zakheim, a Jewish immigrant from
Eastern Europe, and Arnautoff, an immigrant from Russia, were both openly supportive of socialism/communism, or far left politics. During this time Boynton married his second wife (whom he later divorced).
457:- but did little to temper the criticism he received for his final product. Although in an interview he is noted as saying, "...a commission which he feels is his most important work," Anthony W. Lee writes that opinions of others, at the time, were not equal to Boynton's. Barbaric and failure stand out as prime examples over five pages of Lee's writing on these murals.
433:
Gough, a
Canadian, in San Francisco in 1919 who died of tuberculosis in 1930. During her illness. Boynton sacrificed many painting hours to provide his semi-invalid wife with care. In the mid-1920s he went to Mexico to study with Diego Rivera. Boynton accepted this invitation because, as Anthony W. Lee writes in his extensive book on Diego Rivera in San Francisco -
408:...a number of younger painters vied for leadership. Two of them - Ray Boynton and Maynard Dixon - were able to attach themselves to a specific group of patrons...Dixon and Boynton, who had played absolutely no role in 1915, gained an advantage by recognizing the new social and political requirements and mapping their artistic interests onto them."
324:- known as the MAC). During these seven years in Eastern Washington, Boynton perhaps spent more time farming than in artistic endeavors. Finally, luck broke his way around 1914 when he became a judge for the Northwest region of art that was to be sent to San Francisco for the 1915 World's Fair called the
358:. His art, exhibited in the PPIE, helped him to create connections that would serve him well. After PPIE left town, and many of the makeshift buildings were torn down, the social elite of San Francisco began looking for artists to "beautify" the city with large murals and mosaics. Boynton, along with
504:
only a year before, and it included artists who were not that extreme - Stackpole and
Boynton amongst others. During this time strikes broke out along the piers which the artists could view from their perch atop the city. Some painters tried to incorporate this into their murals. The "left" leaning
569:
Ray
Boynton is a significant figure in California art history... The murals in the Modesto post office are very fine examples of what the Treasury Section of Fine Arts set out to do: not just provide jobs for artists, but bring original and accessible art to cities and towns of all sizes. They put
564:
All the public works of the 1930s, and the buildings they were attached to (in various art mediums), eventually began to age and become out-dated. In time buildings began to be remodeled. Barbara
Bernstein, working for the New Deal Art Registry, said in an interview: "A lot of art was lost through
319:
on a mural to be placed in City Hall's first council chamber (about 1913). Unfortunately, during renovations of City Hall, it was ruined when workers nailed boards over it; the mural was forgotten and was later rediscovered in the 1960s. Although efforts were made to raise funds to restore it, the
484:
or abstract. This rejection corresponds with the shift of power away from
Boynton and Maynard Dixon that is pointed out by Anthony W. Lee as well. In the mural works sphere of art, Bernard Zakheim and Victor Arnautoff had replaced Boynton and Dixon. Lee states this change was set in stone by June
382:
His ability to speak, to write, his versatility, variety of work experience and affable personality endeared him to journalists and to the general public. There was nothing dandified or effete about him, and the shaggy crop of hair and woolen tweeds carried conviction of rough hewn 100% American
432:
ideals. Boynton, although sympathetic, was far enough removed so that his name was untarnished and he brought stability to the art scene when supporters of the artists began to grow tired of extremism by the mid-to-late 1930s. Boynton's fortunes varied through 1920s. He married
Margaret (peggy)
387:
Once on these faculties he began writing for local papers and magazines. He was a critic, a theorist, and editorialist. His writing served him well, as
Fabilli notes: "His contact with the newspaper business stood him in good stead, for in later years there was no difficulty about getting a
480:. The drawings Boynton subsequently created were later exhibited a couple of times at UC Berkeley and Mills College. Although well received, one entry into a judged competition was rejected. It was viewed as too conservative compared to more "modern" pieces of art:
345:
To be thrown into sudden contact with thousands of paintings, after so long an isolation, was like surrounding a starving man with food. He responded readily to the broader field of activities that San Francisco offered and his artistic growth became rapid and
1692:
441:...Boynton understood that, despite the mastery with which he was credited at CSFA , he required instruction from a more accomplished mural painter. On his arrival in Mexico he found Rivera at work on his massive Communist-inspired series at the
404:. During this period he sought and procured many commissions both public and private. It could be said luck fell his way because he had a knack for being in the right place at the right time. Anthony W. Lee writes about Boynton:
373:
where he remained until he retired in 1948. Lee remarks that Boynton was given the job at CFSA because it was a small school and because Boynton had seen great works of art in museums and exhibitions - not just in books.
336:
The 25-year stretch from 1915 to 1940 is perhaps the most important artistic period of Ray Boynton's life. He moved to San Francisco in 1915, when hundreds upon hundreds of works of art were located at the
310:
state because a brother lived there; Boynton resided there for seven years. He described art culture in Eastern Washington as "lacking". He was able to keep art in his life by giving private lessons in
306:
and was present when it caught fire on December 30, 1903, escaping with minor burns. It is the deadliest theatre fire in American history. Upon completion of his studies at the academy, he moved to
328:(PPIE). He first went to Seattle to judge the artwork (he also got some of his work into PPIE), and then he continued on to San Francisco where he would take up permanent residence for many years.
378:, a former art student of Boynton, who helped put together a posthumous exhibition of his work in 1976, provided another possible reason for his hiring besides being well traveled. She wrote:
531:
Little is written about Ray Boynton after 1940. It is known he continued to work at UC Berkeley until June 1948. Once he retired, he and his third wife - Beryl Wynnyk Boynton - moved to
1687:
362:, stepped forward. Although he had meager experience with murals from his time in Spokane, he decided to seize the moment. His first project appeared in a Los Altos home in 1917.
388:
sympathetic hearing from the press, and he was often consulted when other artists or teachers might be avoided or ignored.". He showed his work in numerous exhibits. Boynton, (
277:
Post Office which was decommissioned and sold at auction in 2011. In addition to creating public commissions, Boynton was a teacher at several post-secondary institutions.
1637:
465:
Both Boynton and Dixon were left off a major mural project in 1929 that came under public scrutiny - which agitated Dixon highly. Rivera was to paint a mural in the
523:(SFAA) and, serving in that capacity, was influential in shaping the educational program of the California School of Fine Arts, conducted by the Art Association.
365:
Having previous teaching experience in Spokane, being shown in PPIE, and having done two large works in Spokane no doubt helped his résumé. He got a job at the
1662:
1657:
694:
338:
325:
1702:
1102:
908:
476:
were drawing people who were down on their luck and thought they could eke out a living finding left over gold flakes. Many of his drawings focus on
442:
570:
these murals in public places where people went as part of their daily life (rather than in places that were) formal or intimidating like a museum.
1667:
501:
299:
574:
The Post Office was eventually sold to private investors, and in December 2013 it was announced that the building would become a law office.
557:
After his death in 1951, the life and work of Ray Boynton continued to be studied. In 1976, during the 25th anniversary of Boynton's death,
321:
1517:
1000:
370:
1426:
1677:
1190:
425:
108:
1672:
508:
In 1936 Boynton was commissioned as the lead artist to paint thirteen murals in the Modesto, California Post Office known as
496:
were influential in obtaining the Federal commission. Numerous artists participated, many of whom had previously worked with
46:
886:
Wood, Charles Erskine Scott (with woodcut illustration by Ray Boynton), The Lantern Press, (1929), San Francisco, California
520:
89:
862:
558:
61:
42:
1652:
614:
466:
366:
247:
243:
1491:
1682:
771:
516:-shaped depicting agricultural scenes in the Central Valley. Six are now missing; seven remain in the post office.
315:; he was hired to paint curtains for a high school theatre; and, eventually, he garnered a commission to paint the
68:
1434:
1697:
878:
Ray Boynton and the Mother Lode: The Depression Years (Exhibition Catalog, from May 4 through August 15, 1976),
590:
75:
543:
477:
35:
472:
Early in the 1930s Boynton began venturing out to gold mining ghost towns of California and Nevada. These
1595:
453:
Having first-hand instruction from Rivera seemed to help Boynton earn another commission - the murals at
303:
294:, on January 14, 1883. After graduating from high school at Strawberry Point, Iowa, in 1901 he moved to
57:
1647:
1642:
845:
551:
532:
509:
585:, in the Faculty Club at Berkeley, and at the California School of Fine Arts. His paintings in oil,
581:
in the San Francisco area. Examples of mural paintings done by him in these media are to be seen at
238:, was an American artist and arts educator, most famous for his mural work in California during the
1621:
1542:
1465:
1358:
716:
312:
274:
578:
421:
307:
1186:
934:
729:
594:
397:
239:
493:
393:
389:
262:
258:
82:
1182:
Painting on the Left: Diego Rivera, Radical Politics, and San Francisco's Public Murals
1069:
191:
605:
1631:
1238:
1207:
1027:
970:
759:
582:
454:
359:
316:
291:
270:
1384:
McNulty, William (September 26, 1951). "Artist Ray S. Boynton dies in Albuquerque".
497:
417:
401:
375:
266:
1570:
1180:
481:
413:
320:
mural was eventually sold and is now in private hands (according to emails with
24:
489:
473:
254:
172:
577:
It is believed that Boynton produced the first paintings in true fresco and
429:
1693:
University of California, Berkeley College of Letters and Science faculty
446:
586:
513:
295:
1518:"Coit Tower "Animal Force and Machine Force" Mural â San Francisco CA"
1400:
369:
in 1920, and in 1923 he was employed by the Department of Art of the
355:
351:
1427:"Modesto's Historic Downtown Post Office Soon to Become Law Offices"
512:. The post office originally contained a series of thirteen tempera
604:
542:
298:
in 1903 to attend the Chicago Academy of Fine Arts (now known as
1401:"Long-lost Artwork from Modesto's Downtown Post Office Returned"
302:) from 1905 to 1907. While there, he worked as an usher at the
880:
Fabilli, Mary, The Oakland Museum (1976), Oakland, California.
18:
1332:. Berkeley: University of California Press. pp. 135â136.
519:
In 1938 Boynton was elected to the Board of Directors of the
1165:. Berkeley: University of California Press. pp. 23, 27.
1103:"Ray Boynton, Art: Berkeley and San Francisco Art Institute"
909:"Ray Boynton, Art: Berkeley and San Francisco Art Institute"
1287:. Berkeley: University of California Press. pp. 57â64.
1272:. Berkeley: University of California Press. pp. 41â45.
915:. The Regents of The University of California, UC Libraries
828:(tempera painting, awarded the Anne Bremer Memorial Prize)
1347:. Berkeley: University of California Press. p. 155.
1185:. Berkeley, California: University of California Press.
488:
The rise of Zakheim in San Francisco coincided with the
1317:. Berkeley: University of California Press. p. 95.
1302:. Berkeley: University of California Press. p. 12.
1132:. Berkeley: University of California Press. p. 33.
350:
He began broadening his artistic abilities by learning
842:(a series of tempera lunette murals, restored in 2010)
1300:
Ray Boynton and the Mother Lode: The Depression Years
1145:
Ray Boynton and the Mother Lode: The Depression Years
197:
187:
179:
166:
158:
146:
132:
125:
49:. Unsourced material may be challenged and removed.
959:records obtained from the New Mexico Museum of Art
589:, and pastel are in the permanent collections of
859:(a museum exhibition of mining-related artwork)
1597:Poems from the Ranges Hardcover â Import, 1929
400:), among others, went to Mexico to study with
1688:School of the Art Institute of Chicago alumni
8:
1097:
1095:
1093:
1091:
803:Mining Ghost Towns of California and Nevada
609:Detail from Ray Boynton's Coit Tower fresco
591:The California Palace of the Legion of Honor
412:In addition, San Francisco, from the end of
1492:"Abstract from WPA Project 2874, Volume XI"
550:(1936), one of the surviving murals at the
122:
857:The Mother Lode and the Depression Years
109:Learn how and when to remove this message
627:
1638:Artists from the San Francisco Bay Area
1460:
1458:
1456:
1454:
1452:
895:
695:PanamaâPacific International Exposition
645:Exhibition - Chicago Society of Artists
339:PanamaâPacific International Exposition
326:PanamaâPacific International Exposition
219: 1919; died 1930)
1156:
1154:
1064:
1062:
300:School of the Art Institute of Chicago
273:). He also painted nine murals in the
1565:
1563:
1174:
1172:
903:
901:
899:
7:
1498:. California Art Research, WPA. 1937
840:Agricultural Products of the Valley
371:University of California at Berkeley
290:Raymond Scepter Boynton was born in
47:adding citations to reliable sources
1663:Treasury Relief Art Project artists
1658:Public Works of Art Project artists
1425:Sbranti, J.N. (December 16, 2013).
445:and the grand monumental panels at
322:Spokane's Museum of Art and Culture
1703:20th-century American male artists
1472:. Bancroft Library. March 24, 2014
705:Exhibition - Hill Tolerton Gallery
697:(PPIE), San Francisco, California
664:City Council, Spokane, Washington
552:post office in Modesto, California
341:(PPIE). A biographer later stated:
14:
1543:"Post Office Murals â Modesto CA"
1470:bancroftlibrarycara.wordpress.com
784:Mills College Murals (music hall)
593:, Mills College Art Gallery, the
23:
216:
34:needs additional citations for
1668:20th-century American painters
1147:. Oakland: The Oakland Museum.
1056:California Art Research, p. 6.
812:Animal Force and Machine Force
611:Animal Force and Machine Force
467:California School of Fine Arts
426:union riots and demonstrations
367:California School of Fine Arts
242:earning commissions under the
1:
792:
653:
521:San Francisco Art Association
1359:"Post Office Murals Modesto"
762:, San Francisco, California
634:Notable Work and Exhibitions
601:Commentary on mural painting
162:Chicago Academy of Fine Arts
1575:OskiCat UCB Library Catalog
708:San Francisco, California
615:Public Works of Art Project
502:Artists' and Writers' Union
428:- supposedly in support of
248:Treasury Relief Art Project
244:Public Works of Art Project
1719:
1237:Hailey, Gene, ed. (1937).
1206:Hailey, Gene, ed. (1937).
1109:. University of California
1026:Hailey, Gene, ed. (1937).
969:Hailey, Gene, ed. (1937).
846:Modesto Post Office Murals
831:San Francisco, California
817:San Francisco, California
772:Charles Erskine Scott Wood
745:San Francisco, California
734:San Francisco, California
721:San Francisco, California
234:(1883â1951) also known as
1074:artandarchitecture-sf.com
1001:"Spokane Mural Preserved"
742:Canon Kip Memorial Chapel
1678:Painters from California
1343:Lee, Anthony W. (1999).
1328:Lee, Anthony W. (1999).
1313:Lee, Anthony W. (1999).
1283:Lee, Anthony W. (1999).
1268:Lee, Anthony W. (1999).
1179:Lee, Anthony W. (1999).
1161:Lee, Anthony W. (1999).
1128:Lee, Anthony W. (1999).
1076:. Art & Architecture
1070:"Ray Boynton Public Art"
1243:California Art Research
1212:California Art Research
1032:California Art Research
975:California Art Research
884:Poems from the Ranges,
332:California 1915 to 1939
153:Albuquerque, New Mexico
1673:American male painters
1298:Fabilli, Mary (1976).
1143:Fabilli, Mary (1976).
941:. Save the Post Office
935:"Save the Post Office"
865:, Oakland, California
848:, Modesto, California
776:Los Gatos, California
770:Mosaic in the home of
661:Mural of Spokane Falls
617:
572:
554:
451:
410:
385:
348:
1466:"Ray Scepter Boynton"
939:savethepostoffice.com
608:
595:M. H. De Young Museum
567:
546:
443:Ministry of Education
439:
406:
380:
343:
257:painting murals with
1386:Santa Fe New Mexican
1345:Painting on the Left
1330:Painting on the Left
1315:Painting on the Left
1285:Painting on the Left
1270:Painting on the Left
1163:Painting on the Left
1130:Painting on the Left
800:Mother Lode Sketches
787:Oakland, California
756:(mural oil painting)
533:Santa Fe, New Mexico
435:Painting on the Left
422:left-leaning artists
416:to the beginning of
183:Fresco and Encaustic
43:improve this article
1622:Federal Art Project
1608:– via Amazon.
1571:"Record: b10349304"
1547:The New Living Deal
1522:The New Living Deal
1249:. San Francisco: 18
1218:. San Francisco: 10
754:St. John of Nepomuk
717:Palace of Fine Arts
313:Spokane, Washington
1653:American muralists
1038:. San Francisco: 5
981:. San Francisco: 2
826:Girl Eating Grapes
814:, Coit Tower mural
648:Chicago, Illinois
618:
579:encaustic painting
559:The Oakland Museum
555:
308:Eastern Washington
1683:Artists from Iowa
1365:. Living New Deal
1363:livingnewdeal.org
869:
868:
597:, and elsewhere.
527:PostâWorld War II
490:Coit Tower murals
229:
228:
119:
118:
111:
93:
1710:
1610:
1609:
1607:
1605:
1592:
1586:
1585:
1583:
1581:
1567:
1558:
1557:
1555:
1553:
1539:
1533:
1532:
1530:
1528:
1514:
1508:
1507:
1505:
1503:
1496:Internet Archive
1488:
1482:
1481:
1479:
1477:
1462:
1447:
1446:
1444:
1442:
1437:on March 5, 2016
1433:. Archived from
1422:
1416:
1415:
1413:
1411:
1396:
1390:
1389:
1381:
1375:
1374:
1372:
1370:
1355:
1349:
1348:
1340:
1334:
1333:
1325:
1319:
1318:
1310:
1304:
1303:
1295:
1289:
1288:
1280:
1274:
1273:
1265:
1259:
1258:
1256:
1254:
1234:
1228:
1227:
1225:
1223:
1203:
1197:
1196:
1176:
1167:
1166:
1158:
1149:
1148:
1140:
1134:
1133:
1125:
1119:
1118:
1116:
1114:
1099:
1086:
1085:
1083:
1081:
1066:
1057:
1054:
1048:
1047:
1045:
1043:
1023:
1017:
1016:
1014:
1012:
1005:Spokesman Review
997:
991:
990:
988:
986:
966:
960:
957:
951:
950:
948:
946:
931:
925:
924:
922:
920:
905:
797:
794:
658:
655:
628:
613:, crediting the
548:Grain Harvesting
461:California 1930s
398:Victor Arnautoff
304:Iroquois Theatre
240:Great Depression
220:
218:
169:
137:January 14, 1883
123:
114:
107:
103:
100:
94:
92:
51:
27:
19:
16:American painter
1718:
1717:
1713:
1712:
1711:
1709:
1708:
1707:
1698:Fresco painters
1628:
1627:
1618:
1613:
1603:
1601:
1594:
1593:
1589:
1579:
1577:
1569:
1568:
1561:
1551:
1549:
1541:
1540:
1536:
1526:
1524:
1516:
1515:
1511:
1501:
1499:
1490:
1489:
1485:
1475:
1473:
1464:
1463:
1450:
1440:
1438:
1431:The Modesto Bee
1424:
1423:
1419:
1409:
1407:
1405:Bumblebeeboogie
1398:
1397:
1393:
1383:
1382:
1378:
1368:
1366:
1357:
1356:
1352:
1342:
1341:
1337:
1327:
1326:
1322:
1312:
1311:
1307:
1297:
1296:
1292:
1282:
1281:
1277:
1267:
1266:
1262:
1252:
1250:
1236:
1235:
1231:
1221:
1219:
1205:
1204:
1200:
1193:
1178:
1177:
1170:
1160:
1159:
1152:
1142:
1141:
1137:
1127:
1126:
1122:
1112:
1110:
1107:texts.cdlib.org
1101:
1100:
1089:
1079:
1077:
1068:
1067:
1060:
1055:
1051:
1041:
1039:
1025:
1024:
1020:
1010:
1008:
1007:. April 2, 1967
999:
998:
994:
984:
982:
968:
967:
963:
958:
954:
944:
942:
933:
932:
928:
918:
916:
907:
906:
897:
893:
874:
795:
730:De Young Museum
689:Spokane Valley
656:
626:
603:
541:
529:
494:Ralph Stackpole
463:
394:Bernard Zakheim
390:Ralph Stackpole
334:
288:
283:
263:Bernard Zakheim
259:Ralph Stackpole
246:(PWAP) and the
236:Raymond Boynton
225:
222:
214:
210:
207:
167:
159:Alma mater
154:
151:
142:
139:
138:
128:
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
1716:
1714:
1706:
1705:
1700:
1695:
1690:
1685:
1680:
1675:
1670:
1665:
1660:
1655:
1650:
1645:
1640:
1630:
1629:
1626:
1625:
1617:
1614:
1612:
1611:
1600:. January 1929
1587:
1559:
1534:
1509:
1483:
1448:
1417:
1399:Sbranti, J.N.
1391:
1376:
1350:
1335:
1320:
1305:
1290:
1275:
1260:
1229:
1198:
1191:
1168:
1150:
1135:
1120:
1087:
1058:
1049:
1018:
992:
961:
952:
926:
894:
892:
889:
888:
887:
881:
873:
870:
867:
866:
863:Oakland Museum
860:
854:
850:
849:
843:
837:
833:
832:
829:
823:
819:
818:
815:
809:
805:
804:
801:
798:
789:
788:
785:
782:
778:
777:
774:
768:
764:
763:
757:
751:
747:
746:
743:
740:
736:
735:
732:
727:
723:
722:
719:
714:
710:
709:
706:
703:
699:
698:
692:
670:
666:
665:
662:
659:
650:
649:
646:
643:
639:
638:
635:
632:
625:
622:
602:
599:
540:
537:
528:
525:
462:
459:
424:. It also had
333:
330:
287:
284:
282:
279:
227:
226:
224:
223:
212:
208:
206:Margaret Gough
205:
204:
201:
199:
195:
194:
192:Social realism
189:
185:
184:
181:
177:
176:
170:
164:
163:
160:
156:
155:
152:
148:
144:
143:
140:
136:
134:
130:
129:
127:Ray S. Boynton
126:
117:
116:
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
1715:
1704:
1701:
1699:
1696:
1694:
1691:
1689:
1686:
1684:
1681:
1679:
1676:
1674:
1671:
1669:
1666:
1664:
1661:
1659:
1656:
1654:
1651:
1649:
1646:
1644:
1641:
1639:
1636:
1635:
1633:
1623:
1620:
1619:
1615:
1599:
1598:
1591:
1588:
1576:
1572:
1566:
1564:
1560:
1548:
1544:
1538:
1535:
1523:
1519:
1513:
1510:
1497:
1493:
1487:
1484:
1476:September 28,
1471:
1467:
1461:
1459:
1457:
1455:
1453:
1449:
1436:
1432:
1428:
1421:
1418:
1406:
1402:
1395:
1392:
1387:
1380:
1377:
1369:September 28,
1364:
1360:
1354:
1351:
1346:
1339:
1336:
1331:
1324:
1321:
1316:
1309:
1306:
1301:
1294:
1291:
1286:
1279:
1276:
1271:
1264:
1261:
1248:
1244:
1240:
1239:"Ray Boynton"
1233:
1230:
1217:
1213:
1209:
1208:"Ray Boynton"
1202:
1199:
1194:
1192:0-520-21133-2
1188:
1184:
1183:
1175:
1173:
1169:
1164:
1157:
1155:
1151:
1146:
1139:
1136:
1131:
1124:
1121:
1113:September 28,
1108:
1104:
1098:
1096:
1094:
1092:
1088:
1080:September 28,
1075:
1071:
1065:
1063:
1059:
1053:
1050:
1037:
1033:
1029:
1028:"Ray Boynton"
1022:
1019:
1006:
1002:
996:
993:
980:
976:
972:
971:"Ray Boynton"
965:
962:
956:
953:
945:September 26,
940:
936:
930:
927:
914:
910:
904:
902:
900:
896:
890:
885:
882:
879:
876:
875:
871:
864:
861:
858:
855:
852:
851:
847:
844:
841:
838:
835:
834:
830:
827:
824:
821:
820:
816:
813:
810:
807:
806:
802:
799:
791:
790:
786:
783:
780:
779:
775:
773:
769:
766:
765:
761:
760:Bohemian Club
758:
755:
752:
749:
748:
744:
741:
738:
737:
733:
731:
728:
725:
724:
720:
718:
715:
712:
711:
707:
704:
701:
700:
696:
693:
691:(5 paintings)
690:
686:
682:
678:
674:
671:
668:
667:
663:
660:
652:
651:
647:
644:
641:
640:
636:
633:
630:
629:
623:
621:
616:
612:
607:
600:
598:
596:
592:
588:
584:
583:Mills College
580:
575:
571:
566:
562:
560:
553:
549:
545:
538:
536:
534:
526:
524:
522:
517:
515:
511:
506:
503:
499:
495:
491:
486:
483:
479:
475:
470:
468:
460:
458:
456:
455:Mills College
450:
448:
444:
438:
436:
431:
427:
423:
419:
415:
409:
405:
403:
399:
395:
391:
384:
379:
377:
372:
368:
363:
361:
360:Maynard Dixon
357:
353:
347:
342:
340:
331:
329:
327:
323:
318:
317:Spokane Falls
314:
309:
305:
301:
297:
293:
292:Whitten, Iowa
285:
280:
278:
276:
272:
271:Maynard Dixon
268:
264:
260:
256:
253:He worked at
251:
249:
245:
241:
237:
233:
203:
202:
200:
196:
193:
190:
186:
182:
178:
174:
171:
165:
161:
157:
149:
145:
141:Whitten, Iowa
135:
131:
124:
121:
113:
110:
102:
99:November 2019
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: â
59:
58:"Ray Boynton"
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
1602:. Retrieved
1596:
1590:
1578:. Retrieved
1574:
1550:. Retrieved
1546:
1537:
1525:. Retrieved
1521:
1512:
1500:. Retrieved
1495:
1486:
1474:. Retrieved
1469:
1441:December 18,
1439:. Retrieved
1435:the original
1430:
1420:
1410:December 18,
1408:. Retrieved
1404:
1394:
1385:
1379:
1367:. Retrieved
1362:
1353:
1344:
1338:
1329:
1323:
1314:
1308:
1299:
1293:
1284:
1278:
1269:
1263:
1253:December 18,
1251:. Retrieved
1246:
1242:
1232:
1222:December 18,
1220:. Retrieved
1215:
1211:
1201:
1181:
1162:
1144:
1138:
1129:
1123:
1111:. Retrieved
1106:
1078:. Retrieved
1073:
1052:
1042:December 18,
1040:. Retrieved
1035:
1031:
1021:
1011:December 18,
1009:. Retrieved
1004:
995:
985:December 18,
983:. Retrieved
978:
974:
964:
955:
943:. Retrieved
938:
929:
917:. Retrieved
912:
883:
877:
872:Bibliography
856:
839:
825:
811:
753:
688:
684:
680:
676:
672:
619:
610:
576:
573:
568:
563:
556:
547:
530:
518:
507:
498:Diego Rivera
487:
471:
464:
452:
440:
434:
418:World War II
411:
407:
402:Diego Rivera
386:
383:masculinity.
381:
376:Mary Fabilli
364:
349:
344:
335:
289:
267:Edith Hamlin
252:
235:
231:
230:
168:Notable work
120:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
1648:1951 deaths
1643:1883 births
1604:January 23,
1580:January 23,
1552:January 23,
1527:January 23,
1502:January 23,
919:January 23,
808:1933 â 1934
796: 1932
750:1920 â 1923
739:1919 â 1920
673:Young Diana
657: 1913
482:avant-garde
478:Downieville
474:ghost towns
420:, had many
414:World War I
232:Ray Boynton
1632:Categories
913:Calisphere
891:References
286:Early life
255:Coit Tower
173:Coit Tower
69:newspapers
637:Location
492:. He and
430:Communist
281:Biography
269:(wife of
1616:See also
510:El Veijo
447:Chapingo
250:(TRAP).
188:Movement
587:tempera
514:lunette
346:steady.
296:Chicago
275:Modesto
221:
213:
209:
83:scholar
1189:
677:Vanity
539:Legacy
356:fresco
352:pastel
265:, and
198:Spouse
85:
78:
71:
64:
56:
1624:(FAP)
1245:. 1.
1214:. 1.
1034:. 1.
977:. 1.
685:A boy
624:Works
215:(
211:
180:Style
175:mural
90:JSTOR
76:books
1606:2015
1582:2015
1554:2015
1529:2015
1504:2015
1478:2015
1443:2013
1412:2013
1371:2015
1255:2013
1224:2013
1187:ISBN
1115:2015
1082:2015
1044:2013
1013:2013
987:2013
947:2015
921:2015
853:1976
836:1936
822:1935
781:1928
767:19??
726:1919
713:1917
702:1916
669:1915
642:1904
631:Year
449:."
354:and
150:1951
147:Died
133:Born
62:news
681:Eve
45:by
1634::
1573:.
1562:^
1545:.
1520:.
1494:.
1468:.
1451:^
1429:.
1403:.
1361:.
1241:.
1210:.
1171:^
1153:^
1105:.
1090:^
1072:.
1061:^
1030:.
1003:.
973:.
937:.
911:.
898:^
793:c.
687:,
683:,
679:,
675:,
654:c.
396:,
392:,
261:,
217:m.
1584:.
1556:.
1531:.
1506:.
1480:.
1445:.
1414:.
1388:.
1373:.
1257:.
1247:9
1226:.
1216:9
1195:.
1117:.
1084:.
1046:.
1036:9
1015:.
989:.
979:9
949:.
923:.
437::
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
