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Burns, Ken (director)
Duncan, Dayton (writer)
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Baumbach’s work depicts a summer landscape in what appears to be a rural farm town from an aerial view. The colors are bright, and cool tone variations of green dominate much of the space. The greens are contrasted by a blue waterway and a yellow field which stretch across the center of the painting, and by several red building structures that sit at the bottom. Rolling hills stretch back into the horizon. Despite the wide view, there is much attention to detail and the painting also features roads, animals, crops, and fences.<br /><br />
<p><span style="text-decoration: underline;">About the Artist:</span> Born on New York’s Lower East Side, Baumbach was the son of an upholsterer and largely a self-taught painter. His original emphasis was upon upstate landscapes; later, he moved on to increasing abstraction in his work, influenced perhaps by his friends <a href="https://en.wikipedia.org/wiki/Mark_Rothko" target="_blank" rel="noopener">Mark Rothko</a> and <a href="https://en.wikipedia.org/wiki/Adolph_Gottlieb" target="_blank" rel="noopener">Adolph Gottlieb</a>, but always with his own distinct style. Baumbach was among the founders of the radical journal <a href="https://www.aaa.si.edu/collections/art-front-5779" target="_blank" rel="noopener"><em>Art Front</em></a> (1934-1937), created as “a publication which speaks for the artist, battles for his economic security and guides him in his artistic efforts” (<em>Art Front 1.1</em> [Nov. 1934]: 2.) Later, his name would come up amidst investigations into “subversive organizations” by the House Un-American Activities Committee. After World War II Baumbach taught painting at Brooklyn College. Although highly regarded by fellow artists, popular success eluded him: “Strong willed, allergic to fashion, even to success, he persisted in going his own way, refusing to sell to prospective buyers he thought did not admire the work properly and breaking off relations with galleries usually after only a show or two” (<em><a href="https://www.nytimes.com/2002/01/04/arts/harold-baumbach-98-a-painter-who-explored-color-and-space.html" target="_blank" rel="noopener">New York Times 4 Jan. 2002</a></em>). He was the father of writer Jonathan Baumbach and grandfather of film director Noah Baumbach. 1 work at the <a href="http://collection.whitney.org/artist/73/HaroldBaumbach" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 1 work at the <a href="https://hirshhorn.si.edu/search-results/search-result-details/?edan_search_value=hmsg_66.400" target="_blank" rel="noopener">Hirshorn Museum</a>. 2 works at the <a href="https://library.brooklyn.cuny.edu/library/art/index.php?view=single&item_id=68&image_id=56" target="_blank" rel="noopener">Brooklyn College Library</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-2-folder-18" target="_blank" rel="noopener">FAP</a>.</p>
Baumbach, Harold, 1903-2002
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We see a steamboat on a river, its importance shown via a stack located at the center of Burliuk's composition and by how much space the boat itself occupies--seemingly the width of the river. The watercolor is drawn in a neo-primitive style, especially with the squat figures in foreground. Earth and sky are painted using the same hues; the steamboat incorporates some of them into itself.<br id="tinymce" class="mce-content-body " data-id="Elements-41-0-text" spellcheck="false" style="padding-left: 1px; padding-right: 1px; padding-bottom: 50px;" contenteditable="true" /><br /><span style="text-decoration: underline;">About the Artist</span>: <span>Among the most accomplished and internationally known of the New Deal Gallery artists, Burliuk called himself “The Father of Russian Futurism” with good reason. He was an important figure in early 20</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;">-century avant-garde circles, collaborating or exhibiting alongside painters like Kandinsky, Picasso, and Rousseau;</span><a href="http://nationaltranslationmonth.tumblr.com/post/76356120439/david-burlyuk-translated-from-the-russian-by-alex" target="_blank" rel="noopener"> <span style="font-weight: 400;">writing poetry</span></a><span style="font-weight: 400;"> with Mayakovski, Yessenin, and Gorky; and counting as friends composers like Rachmaninoff, Scriabine, Gershwin, and Prokofiev. He painted a portrait of groundbreaking filmmaker Sergei Eisenstein. The multitalented artist—whose name sometimes is spelled Burlyuk—was born in Kharkov, Russia, attended various art schools in Europe, and became an energetic creator of multimedia happenings that anticipate performance art: drinking tea under a suspended piano; staging an exhibition of paintings in a coal mine. His constantly changing style has been characterized as Fauvist, Cubist, Futurist, Social Realist, and Neo-Primitivist. Burliuk lived through the Russian revolutions before relocating to Japan (1920-22) and then eventually to America (1922), claiming to have crossed into Alaska using as his passport a </span><i><span style="font-weight: 400;">Vanity Fair </span></i><span style="font-weight: 400;">article about him. He became a US citizen in 1930 and lived the rest of his life on Long Island. Between 1923-1940 he worked as art editor and proofreader for a communist newspaper published in New York called </span><i><span style="font-weight: 400;">Russkiĭ golos</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Russian Voice</span></i><span style="font-weight: 400;">). Throughout his life Burliuk was a prolific painter (creating an estimated 18,000 pictures), self-published with his wife Marussia the art magazine </span><i><span style="font-weight: 400;">Color and Rhyme </span></i><span style="font-weight: 400;">(1931-1966), and wrote several important manifestoes—including</span><a href="http://391.org/manifestos/1912-slap-in-the-face-of-public-taste-burliuk-kruchenykh-mayakovsky-khlebnikov.html#.XCjJr6lRcWo" target="_blank" rel="noopener"> <span style="font-weight: 400;">“Slap in the Face of Public Taste”</span></a><span style="font-weight: 400;"> (1912). Of particular interest for his two works at the NDG and others from the 1930s is a 1926 manifesto entitled</span><a href="http://www.ubu.com/papers/burliuk_modernists.html" target="_blank" rel="noopener"> <span style="font-weight: 400;">“Universal Camp of Radio Modernists”</span></a><span style="font-weight: 400;"> and its vision of an animistic force in the world that infuses his paintings regardless of style: “Everything—from the tiny bug to a tea-spoon—has its specific soul. The whiskey bottle that was on the table is there still forever, but abstract. Consciousness is the possession not only of man, the insignificant particle of creation, but of Mother Nature as well.” 6 works at the</span><a href="http://collection.whitney.org/artist/201/DavidBurliuk" target="_blank" rel="noopener"> <span style="font-weight: 400;">Whitney Museum of American Art</span></a><span style="font-weight: 400;">. 18 works at the</span><a href="https://www.moma.org/artists/877?locale=en" target="_blank" rel="noopener"> <span style="font-weight: 400;">Museum of Modern Art</span></a><span style="font-weight: 400;">. 16 works at the</span><a href="http://ukrainianmuseum.org/burliuk/?q=node/4" target="_blank" rel="noopener"> <span style="font-weight: 400;">Ukranian Museum</span></a><span style="font-weight: 400;">. 399 works at</span><a href="https://www.wikiart.org/en/david-burliuk" target="_blank" rel="noopener"> <span style="font-weight: 400;">WikiArt</span></a><span style="font-weight: 400;">. 1 more image at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-53" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">. His papers are at</span><a href="https://library.syr.edu/digital/guides/b/burliuk_d.htm" target="_blank" rel="noopener"> <span style="font-weight: 400;">Syracuse University</span></a><span style="font-weight: 400;">.</span>
Burliuk, David, 1882-1967
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<span style="font-weight: 400;">In this still life we see upon a sideboard a pot planted with large lillies, as well as smaller flowers growing around them. There is a book open, which looks to be a highly stylised Bible, propped up in its own rectangular vessel. Given the painting's title which one is the Easter Bouquet--the one including lillies (a traditional symbol of resurrection) or the Bible itself? Both are illuminated against a dark background that seems to encompass more than just shadows.</span><br /><br /><span style="text-decoration: underline;">About the Artist</span>: <span style="font-weight: 400;"><span style="text-decoration: underline;">About the Artist</span>: <span>Among the most accomplished and internationally known of the New Deal Gallery artists, Burliuk called himself “The Father of Russian Futurism” with good reason. He was an important figure in early 20</span>th-century avant-garde circles, collaborating or exhibiting alongside painters like Kandinsky, Picasso, and Rousseau;<a href="http://nationaltranslationmonth.tumblr.com/post/76356120439/david-burlyuk-translated-from-the-russian-by-alex" target="_blank" rel="noopener"> writing poetry</a> with Mayakovski, Yessenin, and Gorky; and counting as friends composers like Rachmaninoff, Scriabine, Gershwin, and Prokofiev. He painted a portrait of groundbreaking filmmaker Sergei Eisenstein. The multitalented artist—whose name sometimes is spelled Burlyuk—was born in Kharkov, Russia, attended various art schools in Europe, and became an energetic creator of multimedia happenings that anticipate performance art: drinking tea under a suspended piano; staging an exhibition of paintings in a coal mine. His constantly changing style has been characterized as Fauvist, Cubist, Futurist, Social Realist, and Neo-Primitivist. Burliuk lived through the Russian revolutions before relocating to Japan (1920-22) and then eventually to America (1922), claiming to have crossed into Alaska using as his passport a <i>Vanity Fair </i>article about him. He became a US citizen in 1930 and lived the rest of his life on Long Island. Between 1923-1940 he worked as art editor and proofreader for a communist newspaper published in New York called <i>Russkiĭ golos</i> (<i>Russian Voice</i>). Throughout his life Burliuk was a prolific painter (creating an estimated 18,000 pictures), self-published with his wife Marussia the art magazine <i>Color and Rhyme </i>(1931-1966), and wrote several important manifestoes—including<a href="http://391.org/manifestos/1912-slap-in-the-face-of-public-taste-burliuk-kruchenykh-mayakovsky-khlebnikov.html#.XCjJr6lRcWo" target="_blank" rel="noopener"> “Slap in the Face of Public Taste”</a> (1912). Of particular interest for his two works at the NDG and others from the 1930s is a 1926 manifesto entitled<a href="http://www.ubu.com/papers/burliuk_modernists.html" target="_blank" rel="noopener"> “Universal Camp of Radio Modernists”</a> and its vision of an animistic force in the world that infuses his paintings regardless of style: “Everything—from the tiny bug to a tea-spoon—has its specific soul. The whiskey bottle that was on the table is there still forever, but abstract. Consciousness is the possession not only of man, the insignificant particle of creation, but of Mother Nature as well.” 6 works at the<a href="http://collection.whitney.org/artist/201/DavidBurliuk" target="_blank" rel="noopener"> Whitney Museum of American Art</a>. 18 works at the<a href="https://www.moma.org/artists/877?locale=en" target="_blank" rel="noopener"> Museum of Modern Art</a>. 16 works at the<a href="http://ukrainianmuseum.org/burliuk/?q=node/4" target="_blank" rel="noopener"> Ukranian Museum</a>. 399 works at<a href="https://www.wikiart.org/en/david-burliuk" target="_blank" rel="noopener"> WikiArt</a>. 1 more image at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-53" target="_blank" rel="noopener"> FAP</a>. His papers are at<a href="https://library.syr.edu/digital/guides/b/burliuk_d.htm" target="_blank" rel="noopener"> Syracuse University</a>.</span>
Burliuk, David, 1882-1967
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Cool blues and greens dominate much of Sharp’s landscape, creating a sharp contrast against the red of the barn and sails. A body of water surrounding the wharf clearly is too small for any boats and seems to be drying up. The rolling hills and mountains in the background make the area feel vast and somewhat empty. There are no people within the painting, although there are a few structures that could be houses—one of which has a gravestone—and what appears to be a church spire. Strangest of all is a fenced-in pasture with dinosaurs.<br /><br />
<p><u>About the Artist: </u>Born in Galesburg, IL, Sharp grew up in Eldon, IA and showed a talent for art at an early age, matriculating at the University of Iowa in 1928. While a student he met curator Edward Rowan and painter <a href="https://en.wikipedia.org/wiki/Grant_Wood" target="_blank" rel="noopener">Grant Wood</a>, both of whom would become important figures in the regional art movement, co-founding the <a href="https://en.wikipedia.org/wiki/Stone_City_Art_Colony" target="_blank" rel="noopener">Stone City Art Colony</a>. At age nineteen, taking Wood on a driving tour of Eldon, Sharp showed him the house that would figure in the iconic painting <em><a href="https://en.wikipedia.org/wiki/American_Gothic" target="_blank" rel="noopener">American Gothic</a></em>. Sharp studied at the Stone City colony for a short period before relocating to New York, where he attended the Art Students League and the National Academy of Design. It was during this period in the early 1930s that Sharp met his lifelong partner, the painter <a href="http://www.askart.com/artist/Paul_Crosthwaite/121992/Paul_Crosthwaite.aspx" target="_blank" rel="noopener">Paul Crosthwaite</a>. The two relocated to an established art scene in Buck’s County, PA. Besides his work in the WPA easel division, Sharp was chosen to create three murals for post offices in Iowa: <a href="https://livingnewdeal.org/projects/post-office-mural-bloomfield-ia/" target="_blank" rel="noopener">“Autumn”</a> (1940), in Bloomfield; <a href="https://livingnewdeal.org/projects/post-office-mural-rockwell-city-ia/" target="_blank" rel="noopener">“Summer”</a> (1941), in Rockwell City; <a href="https://livingnewdeal.org/projects/hawarden-post-office-mural-hawarden-ia/" target="_blank" rel="noopener">“Winter”</a> (1942), in Haywarden. While all show the regionalist influence of Wood, Sharp also had a distinctive sense of humor. His painting <a href="https://bucksco.michenerartmuseum.org/bucksartists/image/645/" target="_blank" rel="noopener">“We All Hang Together”</a> mashes up domestic folk art and a Benjamin Franklin epigram; his landscape painting at the NDG features what appears to be a herd of cows but actually is dinosaurs. Still, his taste for surreality did not stand in the way of commercial success. Sharp was called “a skillful factualist who loves the textures of barns, flowers, leaves, shells, and old roots” (Benson). He was commissioned to render portraits of New York theater actors; his paintings were chosen for a traveling Hallmark Art Award exhibition (1951) and appeared on the cover of <em>Colliers </em>magazine (“P.O. Mural”). Sharp and Crosthwaite moved to Florida full-time by the mid-1950s, continuing their work while instructing younger artists. 3 works at <a href="https://www.pafa.org/museum/collection-artist/john-sharp" target="_blank" rel="noopener">Pennsylvania Academy of the Fine Arts</a>. 3 <a href="https://livingnewdeal.org/artists/john-sharp/" target="_blank" rel="noopener">post office murals</a> for the Treasury Section of Fine Arts. 1 work at <a href="https://chrysler.emuseum.com/objects/37648/untitled?ctx=ab112bf1-8a18-4eee-ad47-7ee4aee14dd0&idx=0" target="_blank" rel="noopener">Chrysler Museum of Art</a>. 1 work at <a href="https://americanart.si.edu/artist/john-o-robert-sharp-4393" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 2 works at the <a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/243/" target="_blank" rel="noopener">Michener Art Museum</a>. 5 images at <a href="https://projects.mtmercy.edu/stonecity/otherartists/sharp.html" target="_blank" rel="noopener">Stone City Art Colony</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-2" target="_blank" rel="noopener">FAP</a>.</p>
<p><span style="text-decoration: underline;">Works Consulted</span>: Gertrude Benson, “Dynamic Oils and Sculpture at Academy,” <em>Philadelphia Inquirer</em> 25 Jan. 1953: 17; “P.O. Mural is Hung Tuesday,” <em>Haywarden Independent</em> 28 May 1942: 1; Kristy Raine, <em>et al.</em>, <a href="“John%20Sharp,”">“John Sharp,”</a> <em>Stone City Art Colony and School</em>, web.</p>
Sharp, John, 1911-1966
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Three women and one man are seen riding horses along a muddy trail; a younger rider with two braided pigtails leading them. A faded building is seen in the background--and we remind ourselves that this is New York City. There seem to be three distinct parts of this painting: the upper includes the building and the top parts of the trees; the middle includes the horses and the people. The bottom part of the painting is separated distinctly where the grass meets the trail, including the horses' feet and the muddy trail. <br /><br />About the Artist: We haven’t located much reliable information about this artist. As his NDG painting suggests, Dowling appears to have specialized in sporting art. He created an historical painting, “Saratoga, 1917” that showed Racing Association members living and deceased (<em>New York</em> <em>Herald </em>6 Aug. 1918: 3). Nine years later Dowling was asked to add 13 additional figures on the strength of his reputation in England and the US, which had included a portrait of Theodore Roosevelt. He also ran a series of portraits in <em>Town and Country</em> depicting the opera singer Enrico Caruso, lawyer Paul D. Cravath, financier Otto H. Kahn, and broker Henry Rogers Winthrop (<em>The Saratogian </em>15 Aug. 1927: 5).
Dowling, William, 1907-1980
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var str = '055';
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<span>We see a small chapel with terra cotta roof and a small bell. The only spots of color are the red roof tiles and the teal of bricks aroud the door. The rest of the painting is bleached, faded to hues of pale beige and blue. The door inside, framed by both the only vibrant blue in the painting, and by the circular arch of the chapel's portico, is made the focus of the painting. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (<em>New York Tribune </em>18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (<em>Brooklyn Daily Eagle </em>7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16">FAP</a>. </span>
Alger, John [Herbert], 1879-1967
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