During the Red Scare of the 1950s, only two visual artists faced blacklisting due to alleged Communist sympathies. Among them were Rockwell Kent and William Gropper. Gropper, a committed fighter against social and economic injustice, was summoned by Republican Sen. Joseph R. McCarthy's Permanent Subcommittee on Investigations in 1953. He defended himself while refusing to answer questions about Communist Party membership. His work, such as "America, Its Folklore" of 1945, became a focal point during the subcommittee's cross-examination.

Gropper's Artistic Journey and Themes

Gropper was raised on New York's impoverished Lower East Side by Jewish immigrants. His art was a reflection of his beliefs and experiences. One of his notable works is the painted map filled with schoolbook-style illustrations, which brought Jasper Johns to mind. It was reproduced for State Department distribution and became Exhibit A in the subcommittee's case.His commitment to social justice is evident in his monumental 1945 painting of Paul Bunyan. Towering over snowcapped mountains, Bunyan symbolizes American might. When the Cranbrook Academy canceled an exhibition of his work, he responded by creating a no-holds-barred series modeled on Francisco Goya's "Caprichos" series titled "Capriccios."This series of 50 lithographs, created between 1953 and 1957, is among the most complex and powerful in his oeuvre. Works like "Pomp," "Justice," "Blacklist," and "Emancipation" showcase his bold use of color and Expressionist figures.

Gropper's Cartoons and Social Commentary

Gropper's work as a cartoonist was highly skilled. His book "The Illustrious Dunderheads" of 1942 mocked isolationist members of Congress with illustrations by Gropper. One cartoon, "We're Just Crazy About Fascism" from around 1940, depicted isolationist politicians and celebrities singing with fervor, including William Randolph Hearst, Charles Lindbergh, and Ezra Pound.As a Jew, Gropper took isolationism personally. His 1943 drawing, "The Murderers Spill Our Blood," in response to the Nazi massacre of Lidice, was a powerful statement. It showed his determination to protest and fight for the lives of his people.Some of his cartoons, like "Hirohito Composed a 'Peace Poem,' Tokyo Reports" of 1938, used grotesque and pervasive racist stereotypes. While this contributed to a culture of racism against Japan, it also offered a scathing indictment of militaristic imperialism.

Gropper's Paintings for Social Realism

Three paintings on view are studies for social-realist murals from the Smithsonian American Art Museum. "Suburban Post in Winter" is a picture-book snow scene related to a post office in Freeport, Long Island. "Construction of the Dam" was painted in preparation for a mural at the Department of the Interior, where Gropper "integrated" the racially segregated work crew. The most striking is "Automobile Industry," a study for a Detroit post office mural now at Wayne State University.

Gropper's Later Career and Legacy

Although he never received an official apology for his blacklisting, Gropper's career revived. He stayed prolific and satiric until the end. His 1965 "Self-Portrait" shows him in profile, grinning with malicious satisfaction as he completes the face of his latest target in blood-red ink.Gropper's art continues to resonate, reminding us of the importance of social justice and the power of art to make a statement. His works are on display at the Phillips Collection through Jan. 5, inviting viewers to explore his life and art.The Phillips Collection, located at 1600 21st St. NW, can be visited at phillipscollection.org or by calling 202-387-2151.