Issue link: https://www.e-digitaleditions.com/i/1052459
Room from January until June 1938. At its unveiling, Christy commented before a crowd, "Two years ago today, Franklin's birthday, I went into this room and the real spirit of what the Constitution meant revealed itself to me to such an extent that it was impossible for me to resist painting my impression so that others could see how at least one American was affected—today I see that thought expressed and here, where it all happened so many years ago." 26 By early February 1938, a tall stack of colorful We the People posters had arrived. Christy busily auto- graphed them, personally hand delivering or mailing each poster to every cabinet member, Supreme Court justice, senator, and representative (fig. 12). By noon on 16 February, the House Office Building's cabinet maker was flooded with over 100 requests for frames. At the same time, gracious letters of thanks and praise poured in to the Christy studio. Many dignitaries said they would frame and hang his poster in their offices and homes, while some said they would send it to their hometown schools and libraries. Others wanted more posters and would gladly pay for them. 27 In Rep. Ulysses Guyer's letter of gratitude, the Kansas congressman commented, "I should like to see you given a commission to paint that picture for some conspicuous place in the Capitol; I think it would outclass any of the historical paintings there because of your fidelity to historical backgrounds." 28 Guyer clearly knew the "Barefoot Boy of the Blue Muskingum" and the "Super-Salesman of Patriotism" were already on top of this Herculean task. But their efforts had yet to generate steam. The "Big Painting" In planning the Constitution's 150th anniversary, Bloom shockingly discovered that none of Washing- ton's government buildings, including the Capitol, con- tained a single painting of the Constitution's signing. Determined, Bloom wanted Christy to paint one, but congressional support and approval were needed. Natu- rally, Keller, who championed his Rainey portrait two years before, was the logical choice. On 10 August 1937, Keller introduced in the House a Joint Resolution authorizing the Architect of the Capitol to employ Christy to paint the largest painting in the Capitol, measuring an astonishing 30 feet wide and 20 feet high, to be called The Signing of the Constitution. The price was not to exceed $35,000. Three days later, he amended the resolution, requiring the approval of the Joint Committee on the Library. In the Senate, Sen. Hattie Caraway introduced an identical joint resolution two days later. The Library Committee issued a report that same day, heaping praise on Christy's talent and research, along with his allegorical painting We the People which, as the report stated, "attests the qual- ity of Mr. Christy's genius." "To see the painting is an unforgettable experience," the report continued, "and one who sees it lingers to study, to ponder, and admire—and finally leaves with an exalted sense of having been in communion with the very spirit of the Constitution." 30 Christy seemed like a sure shot for the job, but when the Senate resolution was raised on 19 August 1937, it was passed over—the major objection being that a single artist was nominated without any competitive selection. Sen. Elmer Thomas quickly amended it, cleverly removing Christy's name, and referring simply to an artist to be employed by the Architect of the Capitol. No objection was made. Caraway later confided to Christy, "In the face of very great odds I feel that I have won a real victory." 31 Fig. 11. Sen. Hattie Caraway and Christy view his We the People in a Capitol hallway in July 1937. 9 THE CAPITOL DOME