1
10
5
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Deal Gallery
Description
An account of the resource
This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." <br /><br />Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Watercolor painting
Physical Dimensions
The actual physical size of the original image
22.5 x 16.5 in.
Condition: slightly buckled
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Flower Arrangement
Format
The file format, physical medium, or dimensions of the resource
jpeg, 863 KB
Description
An account of the resource
<p>This enigmatic watercolor is organized around the small figurine at left, probably a mythical Japanese fox-spirit called <em><a href="https://en.wikipedia.org/wiki/Kitsune" target="_blank" rel="noopener">kitsune</a></em>. Their intelligence and shape-shifting ability renders them an ambiguous omen: perhaps as shapeshifting tricksters, perhaps as spirit messengers. They could have as many as nine tails—suggested here by an additional eight curling cacti—at which time their fur turned white. This would be a very old, wise, and powerful <em>kitsune</em>. Two lotus blossoms in the dish, symbols of purity, render this compact still life to be of profound spiritual importance, and we see waves of fabric rippling around the moment.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born Tokorogo, Japan, Kadowaki immigrated to Seattle, WA in 1909, giving as his profession a tailor for the famous Mitsukoshi department store in Tokyo. He appears to have lived in California shortly after arrival. As of 1917, he was a waiter at an Oyster Bay, NY restaurant; in 1920 he was butler to the son of a US Vice President in Wayne, NJ; in 1930 he was servant to a Murray Hill attorney; in 1940 he was a cook. These occupations all were considered "appropriate" for Japanese immigrants, and yet Kadowaki persisted in his pursuit of art. While in California he took classes at the Los Angeles School of Art and Design, exhibiting there in 1910; while in New York, he took classes at the Art Students League and exhibited at the ACA Gallery and Salons of America. In 1926 he designed a whimsical <a href="https://openvalley.org/items/show/987" target="_blank" rel="noopener">cockatoo light</a> made of celluloid. After the Japanese attack upon Pearl Harbor, he was one of seven (along with NDG artist Thomas Nagai) to sign and publish a <a href="https://www.si.edu/object/AAADCD_item_17233" target="_blank" rel="noopener">“Declaration of Japanese-American Artists”</a>: “Let us express here and now our tremendous anxiety for national defense of America; our determination to support it to our utmost as artists and men, and further, to bear arms if necessary to ensure the final victory for the Democratic forces of the world. Whether a Fascist calls himself German, Italian, or Japanese, he is part and parcel of the same plot against all mankind.” Kadowaki became a US citizen in 1953.</p>
<p><span style="text-decoration: underline;">Source Consulted</span>: Ruth L. Benjamin, “Japanese Painters in America” <em>Parnassus</em> 7.5 (October 1935): 13–15. For helpful suggestions, sincere thanks to Mai Sato.</p>
Creator
An entity primarily responsible for making the resource
Kadowaki, Motoichi (“Roy”), 1885-1981
Publisher
An entity responsible for making the resource available
Federal Art Project
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18185
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
092
Federal Art Project
New Deal Gallery
Roy Kadowaki
still life
Watercolor
-
https://openvalley.org/files/original/daa8a390510193bb89ef6f481f9d872b.jpg
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9dd4513b5c619b705492953a792c81f5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Deal Gallery
Description
An account of the resource
This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." <br /><br />Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil painting
Physical Dimensions
The actual physical size of the original image
24 x 20 in.
Condition: canvas dented, surface dirt
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Japanese Garden
Creator
An entity primarily responsible for making the resource
Kadowaki, Motoichi (“Roy”), 1885-1981
Publisher
An entity responsible for making the resource available
Federal Art Gallery
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18183
Format
The file format, physical medium, or dimensions of the resource
jpeg, 970 KB
jpeg, 11.2 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
090
Description
An account of the resource
<p>A beautifully balanced composition depicts, on either side of its central planter, a knobbly gourd and ringed vase of similar shape. Our conception of what constitutes a garden blurs distinctions between human-cultivated plants and human-created objects, like the polished table, pleasing containers and lacework. As with Kadowaki's NDG still lifes <a href="https://openvalley.org/items/show/1148" target="_blank" rel="noopener">“Japanese Plant”</a> and <a href="https://openvalley.org/items/show/1149" target="_blank" rel="noopener">“Still Life,”</a> a sort of flaming life-force surrounds the objects in gently burning colors—although most pronounced in this painting.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born Tokorogo, Japan, Kadowaki immigrated to Seattle, WA in 1909, giving as his profession a tailor for the famous Mitsukoshi department store in Tokyo. He appears to have lived in California shortly after arrival. As of 1917, he was a waiter at an Oyster Bay, NY restaurant; in 1920 he was butler to the son of a US Vice President in Wayne, NJ; in 1930 he was servant to a Murray Hill attorney; in 1940 he was a cook. These occupations all were considered appropriate for Japanese immigrants, and yet Kadowaki persisted in his art. While in California he took classes at the Los Angeles School of Art and Design, exhibiting there in 1910; while in New York, he took classes at the Art Students League and exhibited at the ACA Gallery and Salons of America. In 1926 he designed a whimsical <a href="https://openvalley.org/items/show/987" target="_blank" rel="noopener">cockatoo light</a> made of celluloid. After the Japanese attack upon Pearl Harbor, he was one of seven (along with NDG artist Thomas Nagai) to sign and publish a <a href="https://www.si.edu/object/AAADCD_item_17233" target="_blank" rel="noopener">“Declaration of Japanese-American Artists”</a>: “Let us express here and now our tremendous anxiety for national defense of America; our determination to support it to our utmost as artists and men, and further, to bear arms if necessary to ensure the final victory for the Democratic forces of the world. Whether a Fascist calls himself German, Italian, or Japanese, he is part and parcel of the same plot against all mankind.” Kadowaki became a US citizen in 1953.</p>
<p><span style="text-decoration: underline;">Source Consulted</span>: Ruth L. Benjamin, “Japanese Painters in America” <em>Parnassus</em> 7.5 (October 1935): 13–15.</p>
Federal Art Project
New Deal Gallery
painting
Roy Kadowaki
still life
-
https://openvalley.org/files/original/f888e579ef0d38f3c89c6f588e025b8b.JPG
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Deal Gallery
Description
An account of the resource
This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." <br /><br />Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil painting
Physical Dimensions
The actual physical size of the original image
24 x 31 in.
Condition: peeled paint, surface dirt
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Still Life
Creator
An entity primarily responsible for making the resource
Kadowaki, Motoichi (“Roy”), 1885-1981
Publisher
An entity responsible for making the resource available
Federal Art Project
Date
A point or period of time associated with an event in the lifecycle of the resource
1937-03-12
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18186
Format
The file format, physical medium, or dimensions of the resource
jpeg, 915 KB
jpeg, 13.1 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
093
Description
An account of the resource
We approach this still life obliquely, as a momentary and almost casual glimpse of domestic space: a covered table is pushed against the wall, next to a door frame, holding a few everyday objects set down in passing. Yet each of them points beyond the frame with unanswered questions. What is the apple doing here? What book is being read? And most urgently, what is inside the envelope mailed to “Mr. R. Kadowaki” at his Hell’s Kitchen address? Does the conspicuous dead leaf nearby signal some great disappointment? Regardless of what we don’t know, the plant at center has mass and its shadow is rendered in a distinctive tone—less a shadow than that of a spirit.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born Tokorogo, Japan, Kadowaki immigrated to Seattle, WA in 1909, giving as his profession a tailor for the famous Mitsukoshi department store in Tokyo. He appears to have lived in California shortly after arrival. As of 1917, he was a waiter at an Oyster Bay, NY restaurant; in 1920 he was butler to the son of a US Vice President in Wayne, NJ; in 1930 he was servant to a Murray Hill attorney; in 1940 he was a cook. These occupations all were considered appropriate for Japanese immigrants, and yet Kadowaki persisted in his art. While in California he took classes at the Los Angeles School of Art and Design, exhibiting there in 1910; while in New York, he took classes at the Art Students League and exhibited at the ACA Gallery and Salons of America. In 1926 he designed a whimsical <a href="https://openvalley.org/items/show/987" target="_blank" rel="noopener">cockatoo light</a> made of celluloid. After the Japanese attack upon Pearl Harbor, he was one of seven (along with NDG artist Thomas Nagai) to sign and publish a <a href="https://www.si.edu/object/AAADCD_item_17233" target="_blank" rel="noopener">“Declaration of Japanese-American Artists”</a>: “Let us express here and now our tremendous anxiety for national defense of America; our determination to support it to our utmost as artists and men, and further, to bear arms if necessary to ensure the final victory for the Democratic forces of the world. Whether a Fascist calls himself German, Italian, or Japanese, he is part and parcel of the same plot against all mankind.” Kadowaki became a US citizen in 1953.<br /><br /><span style="text-decoration: underline;">Source Consulted</span>: Ruth L. Benjamin, “Japanese Painters in America” <em>Parnassus</em> 7.5 (October 1935): 13–15.
Federal Art Project
New Deal Gallery
painting
Roy Kadowaki
still life
-
https://openvalley.org/files/original/b376ae63bb54ace5a5daf24e4070f6d1.JPG
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Deal Gallery
Description
An account of the resource
This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." <br /><br />Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil painting
Physical Dimensions
The actual physical size of the original image
23.5 x 30 in.
Condition: cracked paint, stained, surface dirt
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Japanese Plant
Creator
An entity primarily responsible for making the resource
Kadowaki, Motoichi (“Roy”), 1885-1981
Publisher
An entity responsible for making the resource available
Federal Art Project
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18183
Format
The file format, physical medium, or dimensions of the resource
jpeg, 911 KB
jpeg, 12.7 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
091
Description
An account of the resource
The plant depicted here probably is a Japanese arrowhead (<em>Saggitaria japonica</em>), which is native to marshes and due to its edible tuber occasionally called a “duck potato.” Kadowaki’s interest certainly is aesthetic—due to its distinctive leafs and graceful stems—and possibly symbolic, given the arrowhead’s remarkable adaptability. Far from wetlands and indoors, this one still is growing vigorously depite a couple of yellow leafs.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born Tokorogo, Japan, Kadowaki immigrated to Seattle, WA in 1909, giving as his profession a tailor for the famous Mitsukoshi department store in Tokyo. He appears to have lived in California shortly after arrival. As of 1917, he was a waiter at an Oyster Bay, NY restaurant; in 1920 he was butler to the son of a US Vice President in Wayne, NJ; in 1930 he was servant to a Murray Hill attorney; in 1940 he was a cook. These occupations all were considered appropriate for Japanese immigrants, and yet Kadowaki persisted in his art. While in California he took classes at the Los Angeles School of Art and Design, exhibiting there in 1910; while in New York, he took classes at the Art Students League and exhibited at the ACA Gallery and Salons of America. In 1926 he designed a whimsical <a href="https://openvalley.org/items/show/987" target="_blank" rel="noopener">cockatoo light</a> made of celluloid. After the Japanese attack upon Pearl Harbor, he was one of seven (along with NDG artist Thomas Nagai) to sign and publish a <a href="https://www.si.edu/object/AAADCD_item_17233" target="_blank" rel="noopener">“Declaration of Japanese-American Artists”</a>: “Let us express here and now our tremendous anxiety for national defense of America; our determination to support it to our utmost as artists and men, and further, to bear arms if necessary to ensure the final victory for the Democratic forces of the world. Whether a Fascist calls himself German, Italian, or Japanese, he is part and parcel of the same plot against all mankind.” Kadowaki became a US citizen in 1953.
<p><span style="text-decoration: underline;">Source Consulted</span>: Ruth L. Benjamin, “Japanese Painters in America” <em>Parnassus</em> 7.5 (October 1935): 13–15.</p>
Federal Art Project
New Deal Gallery
painting
Roy Kadowaki
still life
-
https://openvalley.org/files/original/997beaa2a69d1888c445589c4b237aa8.jpg
841dc51456f7fa7f5df5306e09694077
https://openvalley.org/files/original/af4528d799e4ed948386c3347948db93.JPG
7252bc48937000aefecdcd50e42ccac2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Deal Gallery
Description
An account of the resource
This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." <br /><br />Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil painting
Physical Dimensions
The actual physical size of the original image
24 x 30 in.
Condition: slight tear, surface dirt
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Country Construction
Creator
An entity primarily responsible for making the resource
Kadowaki, Motoichi (“Roy”), 1885-1981
Publisher
An entity responsible for making the resource available
Federal Art Gallery
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18182
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.1 MB
jpeg, 13.5 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
089
Description
An account of the resource
An apparently straightforward scene of home construction reveals a more complex, interconnected relationship between humans and the rest of nature. In the left foreground we see the stump of a tree, either downed by windfall or more likely cut down. A remaining tree at right includes another inhabitant of the area, a squirrel, now perhaps displaced; beneath that tree bloom a profusion of shade-loving flowers. What will become of them? At bottom center is a young sapling which, if allowed to flourish will maintain balance. The human and human habitation being built will be a determining factor in the forest’s health.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born Tokorogo, Japan, Kadowaki immigrated to Seattle, WA in 1909, giving as his profession a tailor for the famous Mitsukoshi department store in Tokyo. He appears to have lived in California shortly after arrival. As of 1917, he was a waiter at an Oyster Bay, NY restaurant; in 1920 he was butler to the son of a US Vice President in Wayne, NJ; in 1930 he was servant to a Murray Hill attorney; in 1940 he was a cook. These occupations all were considered appropriate for Japanese immigrants, and yet Kadowaki persisted in his art. While in California he took classes at the Los Angeles School of Art and Design, exhibiting there in 1910; while in New York, he took classes at the Art Students League and exhibited at the ACA Gallery and Salons of America. In 1926 he designed a whimsical <a href="https://openvalley.org/items/show/987" target="_blank" rel="noopener">cockatoo light</a> made of celluloid. After the Japanese attack upon Pearl Harbor, he was one of seven (along with NDG artist Thomas Nagai) to sign and publish a <a href="https://www.si.edu/object/AAADCD_item_17233" target="_blank" rel="noopener">“Declaration of Japanese-American Artists”</a>: “Let us express here and now our tremendous anxiety for national defense of America; our determination to support it to our utmost as artists and men, and further, to bear arms if necessary to ensure the final victory for the Democratic forces of the world. Whether a Fascist calls himself German, Italian, or Japanese, he is part and parcel of the same plot against all mankind.” Kadowaki became a US citizen in 1953.<br /><br /><span style="text-decoration: underline;">Source Consulted</span>: Ruth L. Benjamin, “Japanese Painters in America” <em>Parnassus</em> 7.5 (October 1935): 13–15.
Federal Art Project
New Deal Gallery
painting
Roy Kadowaki
still life