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- Ryah Ludins (1896–1957) was a Russian-born American muralist, painter, printmaker, art teacher, and writer. She made murals for post offices and other government buildings during the Great Depression and also obtained commissions for murals from Mexican authorities and an industrial concern. Unusually versatile in her technique, she made murals in fresco, mixed media, and wood relief, as well as on canvas and dry plaster. She exhibited her paintings widely but became better known as a printmaker after prints such as "Cassis" (1928) and "Bombing" (about 1944) drew favorable notice from critics. She taught art in academic settings and privately, wrote and illustrated a children's book, and contributed an article to a radical left-wing art magazine. A career spanning more than three decades ended when she succumbed to a long illness in the late 1950s. (en)
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- 36923 (xsd:nonNegativeInteger)
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- Ryah Ludins (en)
- Diana Klotts (en)
- Robert Rightmire (en)
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- Ryah Ludins, fresco, , 1934, in the State Museum at Morelia, Mexico) (en)
- Photo of Ryah Ludins working on a fresco in Bellevue Hospital, taken 1937 (en)
- Ryah Ludins, Cement Industry, 1938, mural in the post office at Nazareth, Pennsylvania (en)
- Ryah Ludins, Cassis, 1928, lithograph, 16 x 11 1/2 inches (en)
- Ryah Ludins, Mexican Village, 1937, etching, 6 x 8 inches (en)
- Ryah Ludins, Untitled , 1925, drawing in pencil, 19 1/4 x 12 3/8 inches (en)
- Ryah Ludins, Valley of the Seven Hills, 1943, painted wood relief mural 16 ft. 8 in. wide and 7 ft. 6 in. high, located in the post office at Cortland, New York (en)
- Ryah Ludins, Recreational Grounds of New York City, 1939, fresco in the men's recreation room of Bellevue Hospital, Manhattan, 632 square feet on one wall (en)
- Ryah Ludins, Bombing, about 1944, etching, 9 7/8 x 12 inches (en)
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- 1928 (xsd:integer)
- 1934 (xsd:integer)
- 1937 (xsd:integer)
- 1938 (xsd:integer)
- 1939 (xsd:integer)
- 1943 (xsd:integer)
- 1944 (xsd:integer)
- RyahLudinsDrawingProvincetown1925.jpg (en)
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- While painting Modern Industry in the State Museum, Morelia, Michaocan, she encountered a stubborn community that insisted that she wear a dress when working on the mural. Standing on scaffolding, many feet above the floor, in a skirt, was not acceptable to Ryah. She stopped painting the fresco. After many days of debate, she resumed painting wearing trousers. Later she would comment: 'If I were a man, it would have been so much easier'. (en)
- Miss Ludins' unique and masculine talent for painting, almost incongruous to so attractive and feminine a young woman is motivated by her love for and compassionate understanding of workers and machinery, '. . . perhaps through my father, who was an architect and engineer, and his friends', she explains. (en)
- The art teaching project [of the New York Federal Art Project], through its free methods, has given children an opportunity to use their natural creative power to express their world of emotion. This project has begun an unprecedented work, the results of which prove that more than 30,000 children, not only in New York but throughout our country should be given this opportunity permanently. It should not be considered as a "relief-measure" to give employment to unemployed art teachers but to provide means of natural, free expression to the child population of this country. This seems a logical step in the creation and development of a living growing American culture of creators as well as appreciators. (en)
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- 0001-03-24 (xsd:gMonthDay)
- Living New Deal (en)
- "A Child's Point of View", Art Front, vol. 3, no. 1, p. 17 (en)
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- Ryah Ludins (1896–1957) was a Russian-born American muralist, painter, printmaker, art teacher, and writer. She made murals for post offices and other government buildings during the Great Depression and also obtained commissions for murals from Mexican authorities and an industrial concern. Unusually versatile in her technique, she made murals in fresco, mixed media, and wood relief, as well as on canvas and dry plaster. She exhibited her paintings widely but became better known as a printmaker after prints such as "Cassis" (1928) and "Bombing" (about 1944) drew favorable notice from critics. She taught art in academic settings and privately, wrote and illustrated a children's book, and contributed an article to a radical left-wing art magazine. A career spanning more than three decades e (en)
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