In 1938, four murals by Grand Rapids painter, mural painter, mosaicist, and educator Gerald Mast (1928-1972) were installed in the Clare, Michigan High School (now its middle school) auditorium, as part of the Works Project Administration art project. Each of the four panels that make up the mural are approximately 20-feet high and 8-feet wide. The panels were installed after being painted at the Detroit Institute of Arts, wrapped about stovepipe and transported by flatbed truck the 170-or-so odd miles to Clare.
Dayton Spence, an art restoration specialist and historian of 19th, 20th and 21st century American art, came to Clare in 1988 to clean and restore the murals. Dr. Thomas Moline was superintendent of Clare Public Schools at that time and on Sept. 8, 2012, Dr. Moline returned to Clare from his home in Illinois to take part in a fundraiser and Depression-era art tour sponsored by the Clare County Arts Council. Standing in the auditorium with the murals to his right, Dr Moline gave those in attendance the keynote address–as well as a history lesson.
According to Dr. Moline, the Mast Murals are some of the largest WPA murals in existence composed by a single artist and are snapshots in time. “They represent what was important to the Clare community and surrounding area at a time when the nation was wrestling with the effects of the Great Depression and the subject of the murals was chosen by Mast and the community.”
Moving from the back of the auditorium to the front (left to right in the photos) the murals illustrate agriculture, peacetime activities, science & education and the emerging gas & oil industry.
From picture to picture, the look on the people’s faces was the same, said Moline. No one seems to be smiling. Why is it that all, even the giants on both sides, look so somber and as if staring off into space? The following is taken mostly verbatim from Dr. Moline’s talk and based on his conversations with Dayton Spence and Moline’s own research:
“Many WPA works of art chronicle the effects of the Great Depression upon the people living through those years. During that period there was great debate about the actual effects of a capitalist democracy.
“There are two periods in the history of the United States that shook our nation’s foundation due to internal events. The most notable was our nations’ Civil War. The second was the Great Depression.
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An emerging middle class that was gaining momentum in the 1920’s was leveled during the Great Depression. A great tide of resentment rose up against government by a nation that felt they should have been far better protected. Resentment formed even faster against the ‘capitalists’ who were viewed as being financially capable of weathering the Depression.
“As unemployment rose, as families lost homes, as individuals’ educations were squandered, a major debate took place within large cities and regions about the form and operation of government that would better serve and protect ‘the people.’ Variant forms of socialism and even communism were openly debated within a nation that was searching hard for answers to remedy economic and service delivery problems. In the 1930s, capitalism and the free market economy also became suspect for their perceived ability to make some rich while many laborers worked for subsistence wages.
“Dayton Spence related that WPA artists purposely injected the look of disassociation in their subjects to generate a feeling of questioning within the viewer…There seems an expression of loss in the faces in the Mast Murals,…or maybe a sense of being let down. Or is it a sense of looking out of the present situation…to something…beyond?
“Diego Rivera’s Detroit Industry Murals in the Detroit Institute of Arts, completed in 1933, have the same faces, the same expressions, the same staring off to the beyond. The message was very much the same as conveyed in the Mast Murals, except that one can also discern in Rivera’s work a critical treatment of the “capitalists” who appeared to be running the show. That criticism was not well received by those with large holdings in the automobile industry, some of whom supported an unsuccessful campaign to whitewash the Detroit Industry Murals out of existence. Rivera’s influence definitely shows in Mast’s art.”
Spence estimated each panel could demand a price (based on what the offshore consortiums were willing to pay) of approximately $5 million–or $20 million for the set of four. The federal government made it again clear in 1999, in a letter to then Clare Public Schools Superintendent, William Courliss, that the art belongs to the people of the United States and remains bequeathed to Clare Public Schools and its community, and shall not be offered for sale. (In fact, the Federal Government is making a concerted effort to recover WPA art.)
Moline ended his talk by commending the Clare County Arts Council for the important work they are doing to care, maintain and preserve the Gerald Mast Murals stating, “They are an historic treasure that will rise in national prominence with each passing year.”
Arrangements can be made to view the murals during the school year by contacting the Clare Middle School at (989) 386-9979.
Along with the Mast Murals, there is also another piece of WPA art on the school grounds, an 8-foot high statue called “Pioneer Mother,” by Samual Cashwan. It is deteriorating due to time and exposure to the elements, and in serious need of restoration. Unlike the Mast Murals, the statue has never been stabilized much less restored, Costs for work on the statue could run as high as $20,000.
Even the Mast Murals should be attended to every 20 years. Doing the math, that means an expert in restoration should have been called in 2008 to examine them; however, because of lack of funding that did not occur–and there are no plans to work on them any time soon. Although heavy drapes were installed on auditorium windows at one time to slow the murals’ deterioration due to sunlight little else has been done to protect them.
Clare also has two other depression-era works of art of note. One, a mural called “The Mail comes to Clare” is at the Clare post office and can be viewed during open hours. There is also a light-hearted mural that shows leprechauns making beer that covers approximately 70-feet of the wall in the restaurant of the Doherty Hotel. This mural can be viewed at any time. 
Note: The information in this post on the Mast Murals is based on Dr. Moline’s talk of Sept. 8, 2012. Following his talk, Dr. Moline generously passed along his address and I am endebted to him for doing so. I hope my changes did not materially alter what was a highly educational and entertaining address. I hope to post an unedited copy of his address soon.
Photos by Marty Johnson. Close-ups of the Mast Murals come from postcards sold by the Clare County Arts Council. Membership is $10/year. If you would like to help preserve the murals of the statute of the Pioneer Mother or wish to contribute toward work on the Mast Murals, please contact the Arts Council at clarecountyartscouncil@hotmail.com. Tell them “Marty” sent you!
Take this one that appeared in the front page of the May 2, 1884 issue of The Clare County Press about the death of Rebecca Rulapaugh. I ran across the article while doing some research on another topic, and the headline and subhead made me want to read it.
the headline. However, one would expect Rebecca’s death would have devastated her husband and the entire family. After all, Rebecca was only 56 and had been in the best of health-or so it appeared. We have no other information on the cause of death but do know that Rebecca was buried in Woods cemetery in Clare County thanks to information posted on “Find a Grave” by someone with the username of twkistle. Her husband John would join her in death two years later at age 64. Whether his wife’s death was a factor in John’s passing, we do not know. 
Trains, Reins and Shantyboys 