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Four children encounter each other upon a path in Central Park, the city skyline silhouetted against a colorful sky. Two older—and, judging from their clothing, apparently wealthier—children accept a flower offered by a young girl holding a larger bunch in her arms. Her own socioeconomic status is not clear; rather, Myers offers a parable of “natural” generosity in humans before social inculcation. At left is a figure resembling a statue of St. Francis, or simply an adult standing in a field.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Petersburg, VA, and traveling to New York City at age eighteen, Myers knew poverty at first hand. He took art classes when he was able at the Art Students League and Cooper Union, but was largely self-taught and perhaps motivated more by a desire to render the city honestly—an aesthetic that had much in common with the so-called “Ashcan School” of American realism of the early twentieth century. But Myers’ own familiarity with the working class, wrote Harry Wickey, meant that his subject matter “was approached from the standpoint neither of the artist, tourist, or one who was out to expose the conditions under which these people lived. He sought out the life these quarters had to offer and it transformed itself into a thing of beauty as it passed through him” (<a href="https://archive.org/stream/jeromemyersmemor00whit#page/n1" target="_blank" rel="noopener"><em>Jerome Myers Memorial Exhibition </em>3</a>). Widespread fame eluded Myers during his lifetime, but his paintings are held by dozens of museums, among them: 9 works at <a href="https://americanart.si.edu/artist/jerome-myers-3479" target="_blank" rel="noopener">Smithsonian American Art Museum</a>; 11 works at <a href="https://www.metmuseum.org/art/collection/search#!?q=%22jerome%20myers%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>; 20 works at <a href="https://www.brooklynmuseum.org/opencollection/artists/193/objects" target="_blank" rel="noopener">Brooklyn Museum</a>; 1 work at <a href="https://www.dia.org/art/collection/object/childrens-theatre-55265" target="_blank" rel="noopener">Detroit Institute of Arts</a>; 1 work at the <a href="https://www.corcoran.org/collection/life-east-side" target="_blank" rel="noopener">Corcoran Collection</a>; 13 works at <a href="https://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=1885" target="_blank" rel="noopener">The Athenaeum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-43" target="_blank" rel="noopener">FAP</a>.
Myers, Jerome, 1867-1940
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A local town is represented as a train stop, hinted at beyond a hill. It appears to be either fall or the middle of a drought, as the colors used are warm—mostly reds, oranges, and yellows—with the corn and surrounding vegetation brown and yellow. These colors contrast with the sky, which composes two thirds of the canvas, and is blue with cumulous clouds. Terrell’s painting is diagonally composed, and the left half of it seems more modernized, with its large buildings and what appear to be telephone poles and electric wires running to the buildings, in contrast to the right, which has telegraph wires and a small silo or water tower.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Toledo, OH, Terrel spent most of her young life in Florida—her father was a bookkeeper—and studied at the Ringling School of Art and Design before moving to New York in 1932 after winning a scholarship to the Art Students League. The body of Terrell’s work is nearly impossible to imagine apart from the New Deal: her paintings appeared in the <a href="https://www.moma.org/artists/65752" target="_blank" rel="noopener">“New Horizons of American Art”</a> exhibit at the Museum of Modern Art, curated by FAP director Holger Cahill, and in WPA traveling shows like “New York Watercolors,” “Country Cross-Section,” and “America Through American Eyes.” Terrell also painted two post office murals for the WPA: <a href="https://livingnewdeal.org/projects/conyers-post-office-mural-conyers-ga/" target="_blank" rel="noopener">“The Ploughman”</a> (1940), in Conyers, GA; and “Reforestation” (1942), in Starke, FL. In 1936, along with Albert Potter, she created an imaginative five-part <a href="https://nycdesignarchive.tumblr.com/post/171898648020/history-of-the-usa-mural-by-elizabeth-terrell" target="_blank" rel="noopener">“History of the USA”</a> mural at City Hospital children’s room on Welfare Island (now called Roosevelt Island). Meanwhile her work appeared in such galleries as the Art Institute of Chicago, Brooklyn Museum, Metropolitan Museum of Art, Museum of Modern Art, and the Pennsylvania Academy of the Arts. She regularly showed in and around Woodstock, NY. 2 works at <a href="https://americanart.si.edu/artist/elizabeth-terrell-4760" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://www.metmuseum.org/art/collection/search/488132" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/terrell" target="_blank" rel="noopener">Woodstock Artists Association and Museum</a>. 2 works at the <a href="http://emuseumplus.unl.edu:8080/eMP/eMuseumPlus?service=ExternalInterface&module=artist&objectId=997&viewType=detailView" target="_blank" rel="noopener">Sheldon Museum of Art</a>. 1 work at <a href="https://uarizona.pastperfectonline.com/webobject/60E0CBD2-07F0-4D36-9D3D-256425216048" target="_blank" rel="noopener">University of Arizona Museum of Art</a>. 31 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-22-folder-40" target="_blank" rel="noopener">FAP</a>.
Terrell, Elizabeth M., 1908-1993
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