Federal officials awarded a $5.1 million contract without competitive bids in April to regild two 19-foot statues near the Lincoln Memorial. The National Park Service (NPS) treated the project as a high priority, citing internal documents that described it as "a visible, high-impact example of how the N.P.S. is responding to presidential directives." This move bypasses standard fiscal accountability for a project reflecting President Trump’s personal aesthetic.
The statues, named Valor and Sacrifice, are part of "The Arts of War." They now stand freshly coated in 23.75-karat gold leaf, a stark visual contrast to the classical austerity of the nearby Lincoln Memorial. These bronze figures, sculpted by Leo Friedlander and cast in Italy, were originally dedicated 75 years ago in 1951 as a gift from the Italian people. Two other statues, "The Arts of Peace," are still undergoing their own "golden glam-ups."
Elite Directives, Public Cost
Documents obtained by NOTUS reveal that extensive market research was not conducted to determine if $5 million represented a fair price for the work. The agency concluded that only one company, the Gilders’ Studio in Maryland, could meet the project's specific requirements and timeline. This studio has completed other regilding projects across the country, including the Georgia State House dome and Faneuil Hall cupola. The statues were last regilded 55 years ago in 1971, their bronze having faded over time.
President Trump has consistently adorned official spaces with gold, from the White House to the Oval Office, which now features thick gold frames, gold vases, and gold stars on the ceiling. He has worn his preference for gold "like a blinging billboard," with his Mar-a-Lago ballroom inspired by Versailles and a penthouse suite infused with gold. Trump insists these are "real gold, not painted flourishes from Home Depot."
His affinity extends to policy, as he exempted gold bullion from reciprocal tariffs last year and named his special visa program for wealthy foreigners the "Trump Gold Card." He also affixed his personally designed, golden presidential challenge coin to the Oval Office door. "See, I’m a gold person," Trump stated during a Cabinet meeting five months ago in March.
A New Imperial Aesthetic
The shift in Washington's aesthetic, from classical republicanism to this new "gilded age," has drawn comparisons. Peter York, writing in Politico Magazine in 2017, described Trump’s design style as "aspirational, meant to project the wealth so many citizens can only dream of," adding, "The best aesthetic descriptor of Trump’s look, I’d argue, is dictator style." This style echoes the use of gold to represent imperial power in 18th-century France and 19th-century Russia.
Barbara Res, who oversaw construction for the Trump Organization, noted that for Trump, gold signified "richness and class." She explained, "To him it meant, This is gold. This is mine. It’s the best you can get, and I’m the best." This perspective suggests a personal glorification rather than a public service. Trump has also expressed admiration for the gold and marble in the palaces of Doha and Abu Dhabi, stating two months ago in June, "Versailles is not a gold leaf. Versailles is the real deal."
White House spokesperson Davis Ingle issued a statement claiming, "No other president has done more to beautify our Nation’s interior than President Trump." He asserted that Trump’s "bold vision" would ensure the nation’s 250th birthday, which occurred one month ago on July 4, was filled with "glory and pride." The Department of Interior echoed this sentiment, stating, "Residents and visitors are excited to see the city revitalized to the grand destination it was meant to be." An ARTNews review, however, called the newly gilded statues "Fit for an oligarch’s ballroom."
The Golden Standard of Power
Trump had added these statues to a list of "eyesores" he demanded fixed before the nation’s 250th birthday. Federal officials scrambled to meet these demands, prioritizing a project that reflects a singular, opulent vision. This top-down imposition, funded by the public purse and bypassing competitive bidding, marks a significant cultural shift in the nation's capital, replacing traditional American austerity with a display of personal wealth and imperial ambition.