Painted gouache study of four allied soldiers standing in line for a United Front Parade float
Gouache study on board by Harold Lehman depicting four uniformed soldiers, one from each of the major Allied nations of WWII. Gouache is an opaque watercolor paint. It has a heavy, velvety texture that absorbs light rather than reflecting it, which gives the paint a smooth appearance. The image was made while Lehman was working at the Siquieros Experimental Workshop in New York City and was the original sketch for a parade float for New York City’s United Front parade in 1941. The float was an advertisement for donations for the Red Cross. An award winning painter, muralist and sculptor, Harold Lehman was known for making political statements with his artwork. He was born and raised in New York City, but moved to Los Angeles as a teenager, attending the Otis Art Institute. While in L.A. he worked with Phil Guston, Jackson Pollock, D.A. Siqueiros, and Manuel Tolegain. In 1941, Harold moved back to New York and continued his career, working with the Public Works of Art Project (PWAP) and the Federal Art Project, both New Deal programs to employ artists. He also worked with the Treasury department and Abbott Laboratories to create War Bond advertisements, pro-American propaganda, and anti-fascist pieces.
Painted gouache study on faded brown bristol board depicting four uniformed soldiers from each of the major Allied nations of WWII. The men are on a red platform in left profile in the same pose, stepping forward with their right leg with their left leg behind them. At the front is an American, in olive drab with a U.S. flag on his arm and a combat helmet with a brown backpack, utility belt, and boots. Behind him is a man in a blue overcoat, with a Soviet hammer and sickle flag on his arm, a brown backpack, utility belt, black boots and a cap with a red star and turned up flaps. Third in line is man in a brown flight suit with tan parachute straps around his midsection, an oversized, white shearling collar and a British flag on his arm. The last man wears a green uniform with a brown backpack, utility belt, and cap and has a Chinese flag on the arm. The background is a pencil grid with the rows labeled with letters and the columns labelled with numbers. The backside has numerous miscellaneous sketches and an inscription in pencil. The corners of the mat board are rounded with several tears and significant edge damage. back, bottom right, handwritten, pencil : Original sketches / Float for /United Front / Parade 1941
Harold Lehman (1913-2006) was born in New York City, New York to Abraham and Rachel Lehman, immigrants from Europe who arrived in New York at the turn of the twentieth century. Early on, Harold’s father struggled to find consistent employment, working as a mailman and a vaudeville dancer. Later he found steady work as an insurance agent and then left the family and moved to California. His mother was a seamstress. Harold had a twin brother and was one of five children. Harold was part Jewish, and went through synagogue as a boy. The family lived in the West side of Brooklyn and then in the Bronx. In February 1930, Harold and his older brother Charlie moved to California to live with their father. In California, Harold enrolled at the Manual Arts High School in Los Angeles. There he formed lifelong friendships with future notable artists such as Phil Guston, Jackson Pollock, and Manuel Tolegain. Early in his art career, Harold worked primarily as a sculptor. He used plaster and clay as well as carving directly in stone. In 1931, after graduating from Manual Arts, Lehman won a citywide competition for a yearlong scholarship to the Otis Art Institute. In 1932, after leaving Otis, Harold focused on painting and began working with painter D.A. Siqueiros, joining his “Bloc of Painters,” a group of artists with socialist leanings. In 1933, Harold won second place in the Los Angeles Museum’s annual competition of painters and sculptors. In 1933 and 1934, Harold did work for the Public Works of Art Project (PWAP) a New Deal program to employ artists. In 1935, Harold felt he had gone as far as he could in Los Angeles, and returned to New York City. There he painted murals for the Federal Art Project, another New Deal program created to employ artists, and sold paintings at exhibits and shows. During this time he continued working with Siqueiros and began experimenting with different types of paints, lacquers and application methods. In 1936 and 1937, Harold created paintings opposing the Fascists and the German and Italian intervention in the Spanish Civil War. In 1939, Harold painted a mural for the World’s Fair in New York. While working with Siqueiros, Harold also designed floats for several New York City parades promoting the Allied war effort and denouncing fascism. In the fall of 1941, Harold fell while painting a mural and broke both his arms. While recuperating, Harold was called up for service by the draft board. With the combination of his broken arms, his disinclination towards violence, his inability to take orders and his work as an artist for federal programs, he was able to get a deferral. In 1942, Harold moved from New York City to Woodstock, NY where he created several war paintings for the Section of Fine Arts and the Treasury Department. Around this time, Harold was approached by Arnold Blanch and Reeves Lewenthal, from the Associated American Artist Gallery. Through a partnership with Associated American Artists and the United States Treasury Department, Abbott Laboratories created a program to create advertisements and illustrations for its medical journal What’s New and for the United States Government’s War Department through their Schools-At-War program. They provided Harold with poster themes and he was free to create within that setting. The series of posters was created through the auspices of the Treasury Department and were successfully published nationwide. In 1943, two of Harold’s war posters were featured in the Museum of Modern Art’s Artists for Victory exhibit. In 1945, in response to the revelation of the atrocities of the Holocaust, Harold did many blackened drawings of prisoners and the camps. In 1946, Harold left Woodstock and returned to New York City. He continued easel painting, sculpting, and photography. He also began teaching art from his studio on West 21st Street. In 1950, Lehman met Leona Koutras, who had come to his studio for art lessons. Two years later they married and had two children. In the 1970s Harold worked as designer and scenic artist for CBS and NBC television.
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overall: Height: 14.875 inches (37.783 cm) | Width: 20.125 inches (51.118 cm)
The painting was donated to the United States Holocaust Memorial Museum in 2015 by Lisa Lehman Trager, the daughter of Harold Lehman.
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