Gellert, Hugo, 1892-1985.

Mural painter.

From the description of Hugo Gellert interview, 1984 Apr. 4. (Unknown). WorldCat record id: 83826254

Painter; New York, N.Y.

From the description of Hugo Gellert lecture, 1985. (Unknown). WorldCat record id: 122394902

Hugo Gellert (1892-1985) was a communist graphic artist, cartoonist, muralist and painter. He was born in Hungary in 1892 and came to the U.S. in 1906. Gellert was a leading contributor of art work to The Masses, The Liberator and New Masses . Gellert published three books: Karl Marx in Lithographs (1933), Comrade Gulliver (1935), Aesop Said So (1936). Among his murals were those done for the National Maritime Union headquarters and the Seward Park Houses, both in New York City. He also played a leading role in many Popular Front arts organizations from the 1930s through World War II. Gellert was the director of the John Reed School of Art. In 1937 he organized the Mural Artists Guild of the United Scenic Painters, and successfully fought, as chair of the Artists Coordinating Committee, to insure that only works of organized artists were accepted for exhibits at the New York World's Fair. During WWII, Gellert was active in Artists for Victory. Throughout his life, Gellert contributed to the Hungarian-American radical press beginning in 1916, with the newspaper Elore, and later to the Magyar Szo . He also organized, in 1927, the Anti-Horthy League, a Hungarian-American anti-fascist group.

From the guide to the Hugo Gellert Papers, Bulk, 1934-1944, 1934-1980s, (Bulk 1934-1944), (Tamiment Library and Robert F. Wagner Labor Archive)

Hugo Gellert (1892-1985) was a mural painter, graphic artist, designer, cartoonist, illustrator, and writer from New York, N.Y.

Born in Budapest, Hungary. Gellert had strong political convictions and believed in the power of collective action and endorsed the formation of a liberal labor party and an artists' union. Book illustrator for "Aesop Said So," 1936, and "Century of the Common Man," 1943. Author of "Karl Marx Capital in Lithographs," 1934.

From the description of Hugo Gellert papers, 1916-1986. (Unknown). WorldCat record id: 227188948

Hugo Gellert was a communist graphic artist, cartoonist, muralist and painter. He was born in Hungary in 1892 and came to the U.S. in 1906. Gellert was a leading contributor of art work to progessive journals such as the Masses, Liberator and New Masses. Gellert published three books: Karl Marx in Lithographs (1933), Comrade Gulliver (1935), Aesop Said So (1936); and among his murals were those done for the National Maritime Union headquarters and the Seward Park Houses, both in New York City.

He also played a leading role in many Popular Front arts organizations in the 1930s and during World War II. He organized, in 1937, the Mural Artists Guild of the United Scenic Painters, and in 1939 successfully fought, as chair of the Artists Coordinating Committee for the New York World's Fair, to insure that only works of organized artists were accepted for exhibits. During World War II, Gellert was active in Artists for Victory. Throughout his life, Gellert contributed to the Hungarian-American radical press beginning in 1916, with the newspaper Elore, and later to the Magyar Szo. He also organized, in 1927, the Anti-Horthy League, a Hungarian-American anti-fascist group.

From the description of Papers, 1934-1979, (bulk 1934-1944). (New York University). WorldCat record id: 477247693

The Daily Worker, the official organ of the Communist Party of the United States of America (CPUSA), traces its origins back to the Communist Labor Party, founded in Chicago in 1919. The Communist Labor Party’s paper was known as the Toiler . When the Communist Labor Party and the Workers Party merged in 1921, the Toiler became the weekly paper The Worker . Two years later, the paper changed its name to the Daily Worker . As a daily newspaper, the Daily Worker covered the major stories of the 20th century, while at the same time speaking to the left-wing sector of the American population, which included labor, civil rights, and peace activists. The newspaper emphasized radical social movements, labor struggles, racial discrimination, right wing extremism, the Soviet Union, and the world-wide Communist movement.

The CPUSA grew under increasing attack following WWII. The rise of McCarthyism and the Red Scare eventually forced the Party to go underground, and in 1958, the Daily Worker shut down operation. In 1960, it resumed bi-weekly publication as The Worker, but never achieved the level of popularity it had in the 1930s and 1940s.

In 1967, the paper now known as the Daily World, again became a daily. It reported on the civil rights movement, including sit-ins, voter registration campaigns and the Freedom Rides. In the late 1960s and into the early 1970s, the Daily World aligned itself with the anti-Vietnam War and black nationalist movements.

In 1986 the paper merged with the CPUSA's West Coast weekly, the People's World . The newly formed People's Daily World was published from 1987 until 1991, when daily publication was abandoned in favor of a weekly edition, renamed the People's Weekly World . During this period the paper focused heavily on labor union activity, particularly in cities like Detroit and Chicago, as well as the growing anti-globalization movement.

Shifting its operations back to Chicago between 2001 and 2002, the paper changed its name to the People's World in 2009. In 2010, the paper ceased print publication and became an electronic, online-only, publication.

Specific artists represented in the Daily Worker/ Daily World Cartoon Collection include: Fred Ellis, Ollie Harrington, Hugo Gellert, Norman Goldberg, Kinkaid, and James Erickson (Eric), among numerous others.

From the guide to the The, Daily Worker, and, Daily World, Cartoon Collection, Bulk, 1940-1980, 1928-2002, (Tamiment Library and Robert F. Wagner Labor Archive)