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Ross Dickinson, “Valley Farms”, Oil on Canvas, 1934, Smithsonian American Art Museum, Transferred from the U.S. Department of Labor.

Long before Ross Dickinson received any formal training, he experimented with oil paint and educated himself through reading. Awarded a scholarship to the Chouinard Art Institute in Los Angeles, Dickinson studied with Frank Tolles Chamberlin (1873–1961) and became interested in mural painting. In 1926 Dickinson spent nine months in New York City studying with John Costigan at the Grand Central School of Art and Charles Hawthorne at the National Academy of Design; he also received a scholarship from the Tiffany Foundation. Dickinson returned to California later that year and studied at the Santa Barbara School of Fine Arts, where he received his first mural commission.

Dickinson depicted the varying California landscape and men and women at work, which often aligned him with California regionalism. By 1934 he was involved in the Public Works of Art Project, which led to numerous mural commissions in the mid-1930s. His later work displays a stylistic change, as he moved toward freer brushwork in fast-drying acrylics through the 1950s and 1960s. He continued to work and exhibit in the southern California area until his death in Santa Barbara in 1978.

Ilya Bolotowsky, “In the Barber Shop”, Oil on Canvas, 1934, Smithsonian American Art Museum, Transferred from the U.S. Department of Labor

Ilya Bolotowsky was a leading early 20th-century painter in abstract styles in New York City. His work, a search for philosophical order through visual expression, embraced cubism and geometric abstraction and was much influenced by Dutch painter Piet Mondrian.

Born to Jewish parents in St. Petersburg, Russia, Bolotowsky moved to Baku and Constantinople, and immigrated to the United States in 1923, settling in New York City. He attended the National Academy of Design. He became associated with a group called “The Ten Whitney Dissenters,” or simply “The Ten,” artists, including Louis Schanker, Adolph Gottlieb, Mark Rothko, and Joseph Solman, who rebelled against the strictures of the Academy and held independent exhibitions.

Bolotowsky was mentored by Dutch painter Piet Mondrian and the tenets of De Stijl, a movement that advocated the possibility of ideal order in the visual arts. Bolotowsky adopted Mondrian’s use of horizontal and vertical geometric pattern and a palette restricted to primary colors and neutrals.

Having turned to geometric abstractions, in 1936 Bolotowsky co-founded American Abstract Artists, a cooperative formed to promote the interests of abstract painters and to increase understanding between themselves and the public.