I have a number of favorite places in the Washington, DC, area— the first, naturally, being my family’s home. Not far down on the list is the monumental National Building Museum, where this past weekend I went to see Walls Speak: The Narrative Art of Hildreth Meière. (The exhibit is up through January 2, 2012; see it for yourself!) Meière was a noted figure in the Art Deco movement who collaborated with architects and craftsmen to create painted murals, wool tapestries, marble floors, and especially glass and marble mosaics. From her initial pencil sketches, full-size studies (“cartoons”), and models that were featured in the exhibit arise, as advertised, several narratives: first, that of Meière’s own life. After studying at an Academy of the Sacred Heart (like me!) in New York, and later in San Francisco, Chicago, and Florence, she worked as a mapmaker and architectural drafts-woman for the navy during World War I. She then made a career of integrating art into built spaces and was the first woman elected to the New York City Arts Commission, as well as the first to receive the Fine Arts Medal from the American Institute of Architects. She served on the boards of various organizations, including the Municipal Art Society, as Vice President of the Architectural League of New York, and as President of the National Society of Mural Painters.
Acclaimed for the almost exclusively narrative nature of her work, Meière combined material innovation with an affinity (one I would like to call “writerly”) for portraying symbol and story. Her first architectural commission, for the National Academy of Sciences in 1924, was to interpret scientific concepts as imagery, painted over Guastavino’s Akoustolith tile to resemble glazed ceramic. Soon afterward, she completed the work that would endure as her personal favorite: scenes inspired by Hartley Burr Alexander’s iconography, ceramic tile surrounded by Akoustolith in the Nebraska State Capitol. She went on to study and illustrate a wide range of subject matter, from a dome’s worth of apostles and six-winged seraphim, drawn with tiny glass tesserae in the Cathedral Basilica of St. Louis, to her painted mural for Chicago’s Century of Progress Exposition, with three vignettes celebrating women’s progress from 1833 to 1933. Perhaps most well-known are her iconic roundels on the facade of Radio City Music Hall, which used a new process for exterior mixed metals to depict drama, dance, and song. With paint, metal, and bits of glass, Meière made storytellers of ceilings and walls.
Ultimately, “Walls Speak” refers to, and itself is part of, an overarching preservation narrative, one that pieces together and perpetuates Meière’s life story and the stories contained in her work. The museum walls speak, too—of the need for such history to be valued and maintained. For her last commission, she proposed a series of vignettes for wall niches in the National Cathedral; rejected in favor of a more abstract design, they survive through her saved drawings. Her final commercial commission in 1960, a year before her death, told the legend of Hercules through marble mosaic at Prudential Plaza. The work, irreparably harmed during a 1996 remodeling, now endures through photographs and cartoons. Likewise, Meière’s sculpture on the exterior of the RKO Theater, which showed “talkies” as part of Rockefeller Center, had been destroyed with the building in 1954; her drawings, however, preserve its memory. The exhibit describes her large-scale works for the New York World’s Fair, which now exist only as models: “At the close of the 1939 Fair, all of the art work was destroyed. This did not disturb Meière, who believed that the fun was in creating the objects, whether or not they endured.” (Her attitude sounds rather similar to that of a certain gum-wad painter we know, doesn’t it?) With all due respect to Meière’s beliefs, I will admit to being disturbed, but simultaneously relieved that the narrative art of Hildreth Meière will persist, with some assistance from the narrative art of preservation.