Issue link: https://www.e-digitaleditions.com/i/1052459
was signed on 17 September 1787, a jolt of patriotism overcame Christy. In an instant, he envisioned one of the greatest events in American history—the Federal Convention delegates standing before the desk where the Constitution was signed. From a kaleidoscope of colors emerged a symbolic figure of lady Justice rising above everything. Flanking her were misty scenes rep- resenting the meaning and spirit of the Constitution. 20 Deeply inspired, Christy returned home the next day to sketch the idea. Throughout the rest of 1936, Christy declined his usual portrait commissions as he concentrated on his new favorite painting, which he called We the People. 21 At his own expense, Christy researched each of the signers of the Constitution and returned to Philadelphia on 17 September 1936 to a make a small painting of the Assembly Room, capturing the light and shadows as they appeared exactly 149 years to the day after the Constitution's signing. The next month, he began paint- ing his artistic vision on a large canvas there. As he worked, visitors asked him what his painting was for. He would simply say, "Just a sketch." Yet, he knew that this had much greater significance. 22 That fall, Christy travelled to Washington, D.C., to paint the portrait of Rep. Sol Bloom (fig. 10). The timing was perfect: not only was this a fortuitous commis- sion for the artist, but a golden opportunity for the New York politician. The Democratic congressman, a for- mer entertainment impresario, later called the "Super- Salesman of Patriotism," presided as director general of the U.S. Constitution Sesquicentennial Commission, which was planning a nationwide two-year celebration of the Constitution complete with elaborate activities, programs, and contests. Bloom needed Christy and his Constitution painting. Christy needed Bloom and his political clout for his next favorite work. The two col- laborated, conferring and exchanging ideas and material. Bloom's goal was to "have a painting of the Signing of the Constitution that was historically correct." Christy felt the same, stating, "I want the painting to be accu- rate in every detail because I feel deeply in the meaning the Constitution holds for every American." The artist, however, gravitated towards allegory and symbolism for his larger works to convey a deeper message. "The historian gives dead historic facts and legends," Christy said, "but the artist or poet takes these and puts Life in them, and all accept that—as the truth." 23 Christy finished the five-by-seven-foot painting of We the People on 15 February 1937. In May, Bloom shipped it to a lithography company in New York for hundreds of posters to be made, a process spanning over eight months. 24 By the summer of 1937, We the People returned to the Capitol and was placed for viewing in a Senate hallway. Wearing a white, double-breasted suit, Christy escorted congressional leaders to inspect his work (fig. 11). It was a deliberate effort, if not a full-blown mar- keting campaign. Some people loved Christy's painting so much that they felt entitled to take credit. Col. James Moss of the United States Flag Association claimed that he was the source of Christy's inspiration. He wanted to use it for a booklet to be distributed on Flag Day, and insisted Christy agree that his association had sponsored him. When Bloom heard this, he vehemently objected, dismissing Moss's claim and stealing the inspirational credit for himself. "[N]o one has ever told me or advised me about any of the ideas for paintings I have done or that are being done for me," he wrote to Christy. "Of course," Bloom added, "I do in every way respect your ideas, Howard, because you are the artist." 25 At the request of the City of Philadelphia, Christy's painting was exhibited in Independence Hall's Assembly 8 Fig. 10. Christy's portrait of New York Rep. Sol Bloom, 1936 THE CAPITOL DOME