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Winold Reiss (September 16, 1886 – August 23, 1953) was a German-born American artist and graphic designer. He was born in Karlsruhe, Germany. In 1913 he immigrated to the United States, where he was able to follow his interest in Native Americans. In 1920 he went West for the first time, working for a lengthy period on the Blackfeet ...
The Winold Reiss industrial murals are a set of 16 tile mosaic murals displaying manufacturing in Cincinnati, Ohio. The works were created by Winold Reiss for Cincinnati Union Terminal from 1931 to 1932, and made up 11,908 of the 18,150 square feet of art in the terminal. [ 1 ]
Longchamps restaurants were known for their natty art deco furnishings and decorations by Winold Reiss, [2] and a number of designs for elements of their physical surroundings were drawn up by New York architect Ely Jacques Kahn, [3] originator of a colorful version of art deco architecture. [4]
Winold Reiss was contracted to produce murals depicting workers in Cincinnati industries, for the new Cincinnati Union Terminal. To depict the foundry industry, he visited the Modern Foundry to get ideas and set a scene for one of the murals, called Foundry and Machine Shop Products .
Winold Reiss, who may have been introduced to the project by Paul Philippe Cret, used his source material more faithfully. That may have been significant in Reiss's selection for the final works. [11] Reiss ended up designing nearly all of the terminal's artwork, including over 18,150 square feet (1,686 m 2) of mosaic murals. [13]
The museum center has a collection of materials relating to Union Terminal, including 14 of the architects' drawings of the terminal, the silver trowel used at the cornerstone laying in 1931, the gold key used by Cincinnati mayor Russell Wilson in dedicating the terminal in 1933, the dedication book published by the Cincinnati Chamber of ...
The original Winold Reiss study for the mural survives, created in 1931-32 and measuring 5 feet 2 inches (1.57 m) by 19 feet 9 inches (6.02 m). The study is a work in progress, showing the process and decisions taken to complete the work; it was not completed as his other studies were. [ 65 ]
In the mid-1920s, Greenwood studied with Winold Reiss, a German-born artist and designer who had contributed to the Harlem Renaissance movement. [6] In 1929, both of the Greenwood sisters participated in the famed Bohemian event, the Maverick Festival (1915–1931) at the Maverick Art Colony in Woodstock, New York.