A figure in a gas mask stares down at you from a ceiling, bloodied sword in hand. It’s not an image from a nightmare—it’s at St. Nicholas Croatian Church, where the Maxo Vanka murals are one of the most unique pieces of artistic and cultural heritage in Pittsburgh. Croatian artist Maxo Vanka had his eye on violence, economic inequity, and immigrant life when he painted the inside of the church. Father Zagar of St. Nicholas commissioned the murals in 1937 and they were completed in various stages through 1941 and 1951. There are 25 murals in total, all free and open to the public.
Vanka is quoted as saying that “These murals are my contribution to America — not only mine, but my immigrant people’s, who are grateful, like me, that they are not in the slaughter of Europe.” Not far away from Injustice is Immigrant Mother Raising Her Son for American Industry, which shows a Mary-like figure representing the experience of a woman losing her child to the hazardous industrial work in our region. “When visitors come to see the murals, we first invite them to spend a few minutes just looking. There’s a lot to take in. And even for those who have visited the Murals repeatedly, there is always something new to discover and see with fresh eyes,” Director of Education and Interpretation Becky Gaugler said.
The Maxo Vanka Murals are Powerful Reminders of History
Nearly 100 years later, Vanka’s murals are more relevant than ever as questions about the devastation of war, the role of immigrants in a society, and the search for meaning are front of Americans’ minds. Until recently, the Maxo Vanka Murals were operating under the Save America’s Treasures program, a congressionally supported grant from the Institute of Museum and Library Services. Now, the DOGE taskforce has cut that grant, leaving a multitude of cultural institutions stranded, including the Vanka Murals. Though funding has been reinstated through the end of the year, the staff can’t help feeling a sense of déja vu, working under a mural full of motifs of justice and warning about the dangers of a lack of empathy for the vulnerable.
A Universal Message of Empathy
Though the murals use Christian imagery, they appeal to a universal message of charity and social justice, and regardless of your faith.
Vanka’s talent as an artist is undeniable. Even after 88 years of wear, the colors are striking. He achieved an almost technicolor effect with the vibrancy of shades he chose, rather than the muted tones typical of religious art.
Vanka achieved such intense colors, to some degree, through trial and error. He tried to make his own paint at various points, at one point trying mayonnaise as a medium, but eventually did settle on a more commercial casein. He used precarious lifts to get up to the ceiling, and often painted for hours at a time. The murals are mesmerizing to look at, particularly when you bring your gaze to the ceiling where a mural titled Transcendent Vision depicts constellations and stars, the kind of vision of a fire and brimstone that feels as if it comes from a universal divine source rather than an individual faith’s beliefs.
Greed and Generosity
“I wouldn’t frame [the murals] as a statement on politics but the undeniable presentation of historic and recurring themes,” Gaugler said. “There are stories in the murals with strong messages of empathy and to care for others, which are based both in the social justice teaching of the Catholic church, but also for all of us to remember,” she expanded. “For example, contrast of The Capitalist versus Simple Family Meal. In the first, the Biblical reference to the rich man and the beggar Lazarus is a reminder of what greed and corruption look like. In contrast, Christ appears to bless the Family Meal, as those without much share what they have.” The rich man is said to have been modeled after wealthy Pittsburgh banker Andrew Mellon.
Conserving Masterworks
The money from the Save America’s Treasures grant was in part going towards the preservation of the murals, which have incurred significant damage and wear over the years. The “Save Maxo Vanka” campaign employs conservators and preservationists to clean and care for the murals. The murals also necessitate specific lighting, which prompted the Save Maxo Vanka group to bring in design firm Clear Story. A visit to the Vanka Murals sheds light on just how many different technical elements go into preserving and displaying a work of art. Often, during a tour, guests can see conservators at work on the lifts cleaning and retouching the surfaces high on the ceilings. It’s touching to think that decades earlier, Vanka himself was painting on those ceilings.
“My colleagues and I dedicate our careers to a code of ethics that requires accuracy and care, honoring authenticity and preserving histories across all projects. Each member of our team freely shares their wealth of skills and passion both on and off the scaffold,” conservator Kate Pirilla said. “We learn from one another and the work always benefits. This is the spirit that empowers individuals to grow and strengthens our communities.”
These Walls Can Talk
The murals themselves are not going anywhere. The loss of government funding doesn’t mean they’ll shutter or stop being open for tours, but it does slow down the conservation process and make the organization more reliant on donors. Though there have been fits and starts financially, Gaugler remains optimistic about being able to complete the work needed before the garnt money runs out. “We resolved on April 9th to complete the scope of work included in the grant and remain on track to finish [the conservation] in full and on time,” Gaugler said. The Society to Preserve of the Millvale Murals of Maxo Vanka is also currently raising funds to continue the work.
“There is also the message in the Battlefield scenes that war and killing is not the answer. Vanka painted these disturbing images at the onset of World War II, reflecting on his own experience of World War I, depicting Christ appearing as one soldier kills another soldier,” Gaugler said. “It is not a coincidence that Vanka chose ‘Thou shalt not kill’ as the commandment held aloft by Moses in the Old Testament wall.”
We All Deserve Care
“When I consider these works of art in a place of worship, a gathering space, I am reminded of our past and of the power of art to distill varied stories, such as those from the Bible and from our history as descendants of immigrants,” Pirilla said. The murals serve as a reminder of the perspectives that immigrants bring to our country, as well as the devastating effects of war and authoritarianism.
“Art like this gives me hope that we will continue to strive for justice, safety, and dignity for all people. Regardless of our differences, we all deserve care. I believe we are required to uplift those around us,” she added.
Pirilla reflected that as she cleans a painting of the evangelist Matthew, one line from his teachings resonates with her, from Matthew 25:40. “The King will reply, ‘Truly I tell you, whatever you did for one of the least of these brothers and sisters of mine, you did for me.” The conservators often use the tagline “these walls can talk.” They’re worth listening to.
Story by Emma Riva
Images courtesy of Save Maxo Vanka
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