

This illustration is in the artistic school of "Social Realism," an art movement and style characterized by its focus on exposing and critiquing social, economic, and racial injustices through realistic depictions of working-class life, poverty, and hardship. It is more specifically in the "Art Deco" style, which reflects a fascination with modernity and machine-age technology, industry, and progress.

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Thematic Artwork for Labor Day

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"Man's Liberation Through Electricity" (Mural painted under direction
of Rockwell Kent, for GE building at New York World's Fair)
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"Local Industry" (Mays 1936)
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"Steel Industry" (Cook, 1936)
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"Detroit Industry" (Diego Rivera 1932-33 )
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"America Today" (Bention 1931)
The above mural artworks are part of the 20th-century art movement known as "Art Deco." The last four of the murals were dedicated to the workers (both in America and Mexico, roughly from 1920-1950). For the artwork of one such American (progressive) muralist, Thomas Hart Benton, click button below.
Thematic Photos, Posters, & Memes for Labor Day


Thematic Cartoons for Labor Day


Mother Jones on Labor

Mary G. Harris Jones (1837 - 1930), known as Mother Jones from 1897 onward, was an Irish-born American labor organizer, former schoolteacher, and dressmaker who became a prominent union organizer, community organizer, and activist. Mother Jones was a self-proclaimed “hell-raiser” in the cause of economic justice. She was so strident that a US attorney once labeled her “the most dangerous woman in America.”
"My friends, it is solidarity of labor we want. We do not want to find fault with each other, but to solidify our forces and say to each other: We must be together; our masters are joined together and we must do the same thing."
"I know that there are no limits to which the powers of privilege will not go to keep the workers in slavery."
"I want you to pledge to yourselves in this convention to stand as one solid army against the foes of human labor. Think of the thousands who are killed every year and there is no redress for it. We will fight until the mines are made secure and human life valued more than props. Look things in the face. Don't' fear a governor; don't fear anybody. You pay the governor; he has the right to protect you. You are the biggest part of the population in the state. You create its wealth, so I say, let the fight go on; if nobody else will keep on, I will."
"What one state could not get alone, what one miner against a powerful corporation could not achieve, can be achieved by the union."
"Some day the workers will take possession of your city hall, and when we do, no child will be sacrificed on the altar of profit!"
"Slowly those who create the wealth of the world are permitted to share it. The future is in labor's strong, rough hands."
Freedom for the working class!
"Sit down and read. Educate yourself for the coming conflicts."
"Reformation, like education, is a journey, not a destination."

Emma Goldman on Labor

Emma Goldman (1869 – 1940) was an American anarchist, political activist, and writer. She played a pivotal role in the development of anarchist political philosophy in North America and Europe in the first half of the 20th century. Born in Kovno, Lithuania in 1869, Goldman immigrated to the United States in 1885 and quickly became involved in the anarchist and labor movements. Over the course of her life, Goldman’s activism and writing would inspire countless others to fight for social justice and radical change. She viewed the current labor system as inherently oppressive, turning workers into automatons and denying them the fruits of their labor and the joy of creative initiative. She believed true liberation for workers meant gaining economic and industrial freedom from exploitative bosses and a statist system, enabling work to be a source of joy, not a deadening compulsion. Her famous call to action was: "If they do not give you work, demand bread. If they deny you both, take bread. It is your sacred right!"
"Anarchism aims to strip labor of its deadening, dulling aspect, of its gloom and compulsion. It aims to make work an instrument of joy, of strength, of color, of real harmony, so that the poorest sort of a man should find in work both recreation and hope."
"The poor, stupid, free American citizen! Free to starve, free to tramp the highways of this great country, he enjoys universal suffrage, and by that right, he has forged chains around his limbs. The reward that he receives is stringent labor laws prohibiting the right of boycott, of picketing, of everything, except the right to be robbed of the fruits of his labor."
"Man is being robbed not merely of the products of his labor, but of the power of free initiative, of originality, and the interest in, or desire for, the things he is making."
"That being the ideal of Anarchism, its economic arrangements must consist of voluntary productive and distributive associations, gradually developing into free communism, as the best means of producing with the least waste of human energy. Anarchism, however, also recognizes the right of the individual, or numbers of individuals, to arrange at all times for other forms of work, in harmony with their tastes and desires."
"In a society where those who always work never have anything, while those who never work enjoy everything, solidarity of interests is non-existent; hence social harmony is but a myth."
"But if man is doomed to wind cotton around a spool, or dig coal, or build roads for thirty years of his life, there can be no talk of wealth. What he gives to the world is only gray and hideous things, reflecting a dull and hideous existence—too weak to live, too cowardly to die. Strange to say, there are people who extol this deadening method of centralized production as the proudest achievement of our age. They fail utterly to realize that if we are to continue in machine subserviency, our slavery is more complete than was our bondage to the King. They do not want to know that centralization is not only the death-knell of liberty, but also of health and beauty, of art and science, all these being impossible in a clock-like, mechanical atmosphere."
"Trade-unionism, the economic arena of the modern gladiator, owes its existence to direct action. It is but recently that law and government have attempted to crush the trade-union movement, and condemned the exponents of man's right to organize to prison as conspirators. Had they sought to assert their cause through begging, pleading, and compromise, trade-unionism would today be a negligible quantity. In France, in Spain, in Italy, in Russia, nay even in England (witness the growing rebellion of English labor unions) direct, revolutionary, economic action has become so strong a force in the battle for industrial liberty as to make the world realize the tremendous importance of labor's power. The General Strike, the supreme expression of the economic consciousness of the workers, was ridiculed in America but a short time ago. Today every great strike, in order to win, must realize the importance of the solidaric general protest."
"Even were the workers able to have their own representatives, for which our good Socialist politicians are clamoring, what chances are there for their honesty and good faith?"
"Propagandism is not, as some suppose, a 'trade,' because nobody will follow a 'trade' at which you may work with the industry of a slave and die with the reputation of a mendicant. The motives of any persons to pursue such a profession must be different from those of trade, deeper than pride, and stronger than interest."
"'What would you do with the lazy ones, who would not work?' No one is lazy. They grow hopeless from the misery of their present existence, and give up. Under our order of things, every man would do the work he liked, and would have as much as his neighbor, so could not be unhappy and discouraged."
"... if the production of any commodity necessitates the sacrifice of human life, society should do without that commodity, but it can not do without that life."
"Politics is the reflex of the business and industrial world, the mottos of which are: 'To take is more blessed than to give'; 'buy cheap and sell dear'; 'one soiled hand washes the other.'"
William Blake and the Poetic "Labours of Art & Science"

William Blake, 19th-century radical working-class poet, painter, and printer, helps the Gypsy Scholar celebrate Labor Day
William Blake's poetic concept of Labor: the "Labours of Art & Science," which are the
Labours of the archetypal creator-poet, Los.
To labours mighty, with vast strength, with his mighty chains,
In pulsations of time, & extensions of space, like Urns of Beulah
With great labour upon his anvils, & in his ladles the Ore
He lifted, pouring it into the clay ground prepar'd with art;
Striving with Systems to deliver Individuals from those Systems.
(Jerusalem, pl. 11)
[Los] Then arose / And chaunted his song, labouring with the tongs and hammer …
(Jerusalem, pl. 6)
Here’s artist and printer William Blake’s proto-Marxist (or Karl Marx's post-Blakean) view of the artist-as-laborer:
"The Labours of the Artist, the Poet, the Musician, have been proverbially attended by poverty and obscurity; this was never the fault of the Public, but was owing to a neglect of means to propagate such works as have wholly absorbed the Man of Genius. Even Milton and Shakespeare could not publish their own works." (Prospectus: To The Public)
"I know of no other Christianity and of no other Gospel than the liberty both of body and mind to exercise the Divine Arts of Imagination -- Imagination, the real and Eternal World of which this Vegetable Universe is but a faint shadow, and in which we shall live in our Eternal or Imaginative Bodies, when these Vegetable Mortal Bodies are no more. The Apostles knew of no other Gospel. What were all their spiritual gifts? What is the Divine Spirit? Is the Holy Ghost any other than an Intellectual Fountain? What is the harvest of the Gospel and its labours? What is that talent which it is a curse to hide? What are the treasures of Heaven which we are to lay up for ourselves? Are they any other than mental studies and performances? What are all the gifts of the Gospel? Are they not all mental gifts? Is God a Spirit who must be worshipped in spirit and in truth? And are not the gifts of the Spirit everything to Man? O ye Religious, discountenance every one among you who shall pretend to despise Art and Science! I call upon you in the name of Jesus! What is the life of Man but Art and Science? Is it meat and drink? Is not the Body more than raiment? What is Mortality but the things relating to the Body, which dies? What is Immortality but the things relating to the Spirit, which lives eternally? What is the Joy of Heaven but improvement in the things of the Spirit? What are the Pains of Hell but Ignorance, Bodily Lust, Idleness, and devastation of the things of the Spirit? Answer this to yourselves, and expel from among you those who pretend to despise the labours of Art and Science, which alone are the labours of the Gospel. Is not this plain and manifest to the thought? Can you think at all, and not pronounce heartily: that to labour in knowledge is to build up Jerusalem; and to despise knowledge is to despise Jerusalem and her Builders." (To The Christians)
In a letter of 1800, Blake writes about Jesus’ “labours of Art and Science in this world.”
In Blake’s poetic epic of Jerusalem, his eternal poet, Los, “has poured his prophetic energies into inspired labour in the furnaces of his forge and time and space ….” And his great energies in building the city of Jerusalem are called “the sublime Labours.” His prophetic vision inspires his “labouring at the roarings of his Forge”.
The three images below are of Los, labouring at his forge with hammer and anvil to create "Golgonooza" ("Cathedron," city of "Art & Manufacture," or "City of Art") and, finally, the New Jerusalem (city of "Liberty;" "a City, yet a Woman").





Blake also wrote two poems about the plight
of the child chimney sweepers of London
"The Chimney Sweeper"
(from Songs of Innocence)
When my mother died I was very young,
And my father sold me while yet my tongue
Could scarcely cry " 'weep! 'weep! 'weep! 'weep!' "
So your chimneys I sweep & in soot I sleep.
There's little Tom Dacre, who cried when his head
That curled like a lamb's back, was shaved: so I said,
"Hush, Tom! never mind it, for when your head's bare
You know that the soot cannot spoil your white hair."
And so he was quiet, & that very night,
As Tom was a-sleeping he had such a sight!
That thousands of sweepers, Dick, Joe, Ned & Jack,
Were all of them locked up in coffins of black.
And by came an Angel who had a bright key,
And he opened the coffins & set them all free;
Then down a green plain, leaping, laughing, they run,
And wash in a river and shine in the Sun.
Then naked & white, all their bags left behind,
They rise upon clouds and sport in the wind.
And the Angel told Tom, if he'd be a good boy,
He'd have God for his father & never want joy.
And so Tom awoke; and we rose in the dark,
And got with our bags & our brushes to work.
Though the morning was cold, Tom was happy & warm;
So if all do their duty, they need not fear harm.
"The Chimney Sweeper"
(from Songs of Experience)
A little black thing among the snow,
Crying " 'weep! 'weep!" in notes of woe!
"Where are thy father and mother? say?"—
"They are both gone up to the church to pray.
"Because I was happy upon the heath,
And smiled among the winter's snow,
They clothed me in the clothes of death,
And taught me to sing the notes of woe.
"And because I am happy and dance and sing,
They think they have done me no injury,
And are gone to praise God and his Priest and King,
Who make up a heaven of our misery."


Paintings of England's child chimney sweepers