Abstract
Reading American art periodicals of the early 1940s one becomes aware of a perception that the nature of the public for contemporary art was changing from the traditional one of wealth and status to one of a much broader popular basis. On the more generalized level of art appreciation it was claimed that the Federal Government art patronage programs of the 1930s had “served to revolutionize the whole attitude toward art in this country”; and that these—via their introduction of original art into communities that had had no previous contact with such production—had widened the potential public for contemporary art.
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