Courthouse History
History of the Genesee County Courthouse Square
No retrospective on the history of the Genesee County Circuit Court would be complete without an understanding of the significance of its location.
The Legislative Council of the Michigan Territory recognized Genesee County as a governmental body in 1835. The Genesee County Courthouse Square has been the location of the Circuit Court since 1838, when Wait Beach deeded a two-acre parcel to the county to be used for a courthouse and public square.
The first Courthouse was built in 1838, followed by four others. If the substantial addition to the 1926 Courthouse, as part of the Courthouse Square Project (1998-2003) is considered another structure, the total is five. A publication from the September 2003, re-dedication of the Historic Genesee County Courthouse, can be read in its entirety using this link The Historic Genesee County Courthouse 1926-2003.
The 1926 Courthouse featured 3 monumental size murals that were painted by artist Edgar Spier Cameron (1862-1944). During the restoration of the Courthouse, an investigative mission was undertaken to determine the identity of the muralist, unknown until 2003.
Requests for assistance were sent to a variety of art institutes in an effort to identify the muralist. None of the contacts were productive. A random contact from an art conversationist working on murals in Illinois led to the identity. The conservationist was working on a mural restoration done by Edgar Spier Cameron. The publication, “Who’s Who in American Art,” listed the Genesee County Courthouse as one of his other installations. And so it was that the identity that had evaded local courthouse historians was discovered (Courtroom 300 Mural; Courtroom 303 Mural).
Other known Cameron murals are located at the Santa Fe Center, formerly the Railway Exchange Building, Chicago, Illinois and the City Hall Financial Committee Chamber, the latter is part of a series of 12 canvas murals depicting Chicago history. [A Guide to Chicago’s Murals, Mary Lackritz Gray, University of Chicago Press, 2001]
During the restoration project, local artist Stefan Davidek (1924-2016) and his team, consisting of other talented family members were retained for restoration of the murals and to return the 3 original circuit courtrooms (3rd floor) and the original probate courtroom (5th floor) to their authentic appearance.
One of the original Cameron murals, located in Courtroom No.1/308, had been removed. Mr. Davidek recreated the mural from scant information about the original content and one black and white photograph from the 1926 grand opening of the Courthouse. The art patrons for the recreation were primarily members of the Genesee County Bar Association. No public funds were used in this endeavor.
The final Davidek mural installation was dedicated in 2007 in a courtroom on the 5th floor of the Courthouse, in a space originally used by the Genesee County Board of Supervisors. The courtroom was upgraded to a historical appearance during the Courthouse Restoration Project by a grant from the Ruth Mott Foundation. Mr. Davidek painted himself in the mural, which is comprised of other countywide leaders and notables.
Stefan Davidek was a very accomplished artist, recognized for his early and continuing contribution to the local art scene and beyond. Print making, murals, modern art expressions, churches, early involvement with what would become the Flint Institute of Arts and the list goes on as captured in the article, “See the Amazing 80-year Collective of Prominent Flint Artist Stefan Davidek,” www.flintside.com, October 30, 2017, Bruce Edwards, author. His presence in the Courthouse during his years of work continues to be palpable.
He related that as a child, he and parents visited Mexico, where he met Diego Rivera and later visited the Detroit Institute of Arts(DIA) when Rivera was creating the widely acclaimed Detroit Industry Murals (1932-1933). Rivera painted a total of 27 separate frescos, directly painting onto skillfully applied plaster. The drying time of the plaster was critical to the work of the artist. It took many artisans to make and apply the plaster. Any job that permitted the individual to work with Rivera was coveted. Rivera painted directly onto the plaster.
Davidek painted on large canvas sections brought to the courthouse for application, preceded by hand sketches of mural composition first in reduced scale and refined before considered for painting.
Early Davidek works bear a stylistic resemblance to Rivera. The influence is apparent. In a publication entitled, Diego Rivera, The Detroit Industry Murals, Linda Banks Downs, W.W. Norton & Company, Ltd., there are references to Rivera that are uncanny in similarity to observations made about Davidek during the years he worked in the Courthouse.
Mentioning only one, this writer referred to Mr. Davidek as maestro. When a contingent from the DIA went to Mexico to view a private collection of Rivera before he was formerly retained, they referred to him as maestro. The private collector replied that we call him “Diego,” clearly indicating the close relationship and national pride for this work. Although Mr. Davidek never mentioned that he knew Rivera was referred to in a similar manner, upon reflection it seems clear that he did. It brought a satisfying, yet modest, grin.
Both Rivera and Davidek were deliberate and masterful relative to color selected for their creations. As artists, they blended the pigments to reach the color and tone that only they knew was their desire. There was no formula, true artists understanding color and composition.
One of Mr. Davidek’s sons related that if there were multiple cans of paint all purporting to be a “match” for what was already on a wall, Stefan Davidek could always select the one that was the true match. His team did not question the choice. He had the talented artist eye, that cannot be taught only possessed.
Diego Rivera also painted himself into the murals at the DIA, perhaps to memorialize his work or to capture his standing with laborers working in the industrial plants depicted in the murals. It is said that he very much identified with and supported the laborers in the industrial plants. He and his wife, artist Frida Kahlo, lived in Detroit for a year, during the DIA Project. Edsel B. Ford is credited as the force behind bringing Rivera to Detroit for the project.
The original murals in the Genesee County Courthouse continue to be a great source of pride, as the Historic Genesee County Courthouse approaches its centennial anniversary in 2026. They are the artistic signature of two accomplished artists.
In 2007, the Circuit Court unveiled the completed gallery of judicial portraits in the courthouse. A publication of this unveiling can be found using this link Judicial Gallery & Mural Reception 9.28.07.
The quarterly publication of the Circuit Court, Hearsay, often highlights historical events and features of the courthouse. A catalog of Hearsay publications can be found using this link Hearsay Newsletters.
Barbara A. Menear
Administrator