John D Rockefeller Jr desired a unified scheme of art and decoration for the Center’s buildings which would somehow suggest a mixture of munificence, economic democracy, the glories of American civilisation, intellect and spirituality. JDR was a member of the school of good taste and mediocrity in art, but his son Nelson was a collector of modern art and at his suggestion artists of international standing were approached to decorate the prestigious RCA concourse.
The men who would have provided excellent propaganda – Matisse and Picasso – refused point blank much to the amazement of the delegates who naively assumed money could buy anything! However Jose Maria Sert and Diego Rivera agreed. The design team visited Brangwyn in person in the autumn of 1932 and the artist, untroubled by artistic hierarchy, enthusiastically embraced the commission.
Brangwyn was asked to produce four large murals which are placed on the south side of the elevator corridor and are notoriously difficult to photograph. Not more than 60-75% of the canvas was to be covered, lettering was to be included and the work was to be in black, white and brown. The panels were so large (17x25ft) that Brangwyn had to borrow the exhibition galleries at Brighton.
The artist was asked to depict ‘the development of the ethical relationships of mankind’ – he wasn’t sure what this entailed so he asked his friend Philip Macer-Wright for help and came up with Man labouring painfully with his own hands (sketch for same illustrated above); Man the creator and master of the tool; Man the master and servant of the machine; Man’s ultimate destiny depends not on whether he can learn new lessons or make new discoveries, but on his acceptance of the lessons taught close upon 2000 years ago.
It is interesting to note that as Brangwyn grew older (he was 65 when he painted these panels) his labourers also aged.