1
10
5
-
https://openvalley.org/files/original/dea2951096d6c43ce78ed7a6c88176a9.jpg
48f4cfff755a66ca545329c9abbfe5bb
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
Engraved illustration
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/.
Format
The file format, physical medium, or dimensions of the resource
jpeg, 619 KB
Title
A name given to the resource
Laying Out and Dividing Farms
Description
An account of the resource
Lead image of a detailed article on the best ways to lay out a farm renders a bird's eye view of a house, barn and outbuildings, fruit orchard, flower garden, penned livestock, and a field under cultivation. In the foreground a horse and wagon pass by this orderly operation. Probably written for more affluent farmers, the article nevertheless becomes more granular in its advice than this simplified illustration. For example, even this pictorial view is informed by the principles of fields being relatively similar in size (for crop rotation), of keeping the fields nearly square (to minimize fencing), and creating a central farm road to access all of the fields.
Publisher
An entity responsible for making the resource available
Luther Tucker & Son
Date
A point or period of time associated with an event in the lifecycle of the resource
1857
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken
Source
A related resource from which the described resource is derived
<em>The Illustrated Annual Register of Rural Affairs</em> 3 (1857): 309<br /><br />Reprinted as <em>The Illustrated Annual Register of Rural Affairs for 1855-6-7 </em>(1886): 236<br /><br /><a href="https://archive.org/details/gri_33125006136135/page/n236/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a>
Type
The nature or genre of the resource
Still image
Agriculture
bird's eye view
landscape
-
https://openvalley.org/files/original/9106a4238def5d93d0ae296133028215.JPG
398d5b9ae1dfb2b1753b5fa015bd747a
https://openvalley.org/files/original/7b4c0dfef73462de8a63de7362632284.JPG
586c89731f0df85ba4705b91b0913cfa
https://openvalley.org/files/original/224661772d8e6972898c024d6ab314d8.jpg
0448bed6d0970ab894e863acb72bce6b
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 paintin
Physical Dimensions
The actual physical size of the original image
16 x 20 in.
Condition: 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
Tunnel by the Hudson
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.1 MB
jpeg, 17.8 MB
jpeg, 363 KB
Description
An account of the resource
Against a cool background of blue-grays and white, we see a hillside of innumerable colors flowing downhill in nearly a molten state. In contrast to Fastovsky’s general blending technique are several smaller clusters of intensely pointilized colors—at lower left, for example. Even a telephone pole draws upon this for its green insulators, and the dreamy fluidity of landscape, house, and rail infrastructure is very attractive. It's possible that the location for this painting is the Breakneck Ridge rail tunnel, in which case there may be a kind of hidden joke: the building shown is an access point down into the Catskill Aqueduct, whose waters cross from Storm King (on the west side of the Hudson) to Breakneck Ridge (on the east), by way of a deep tunnel underneath the river.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (<em>Arizona Daily Star </em>16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>.
Creator
An entity primarily responsible for making the resource
Fastovsky, Isaac, 1889-1980
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 #FA18148
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
058
Federal Art Project
Hudson River
Isaac Fastovsky
landscape
New Deal Gallery
painting
Railroads
-
https://openvalley.org/files/original/6a2f6b1ce346144afa7d55a0c4ff0ed7.jpg
a97b2345d068220901db7a25c158f5c0
https://openvalley.org/files/original/494121908b330723a92be911f16b2c7b.JPG
de15ea9a7b22d6655afeaadc678a81b7
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
Physical Dimensions
The actual physical size of the original image
28.5 x 22 in.
Condition: paper yellowed
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
The Farm
Description
An account of the resource
This watercolor painting is a landscape of the quintessential farm in rural America. The most striking objects are the bright colored buildings that contrast with lighter-colored foliage and land. The composition is quite empty, a majority of the space being filled with the land and sky. The buildings are composed of basic shapes with sharp angles but the rest of the painting uses large brush strokes to create a landscape that appears to flow across the canvas. The vehicle that hides in the corner represents the change from traditional farming methods that clashed with the new innovations of the 1930s. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Like NDG artists Lucie Bayard and A.E. Cederquist, Cunning was a student of the famous artist-teacher <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the New York School of Art. He remained close to this circle of artists via the Whitney Studio Club, and several of his works were featured in Whitney Bienniels or museum collections: “Old Dock” (1927); “Sunset—New York Bay” (1932); “Roadside Market” (1934). His 1934 painting “Manhattan Skyline,” created for the Public Works of Art Program, is at <a href="https://americanart.si.edu/artwork/manhattan-skyline-6053" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="http://collection.whitney.org/object/2493" target="_blank" rel="noopener">Whitney Museum of American Art.</a> 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3526/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-5-folder-23" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Cunning, John, 1889-1953
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
1935-1940
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Serbalik, John (biography)
Cooper, Ken (Biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18139
Format
The file format, physical medium, or dimensions of the resource
jpeg, 833 KB
jpeg, 8.6 MB
Identifier
An unambiguous reference to the resource within a given context
049
Barn
Farm
Federal Art Project
John Cunning
landscape
New Deal Gallery
-
https://openvalley.org/files/original/b149174efb31f0cd1d873afcaf3ee204.jpg
b9ec5f006110c123ac488f9d7bc7b712
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 on Canvas
Physical Dimensions
The actual physical size of the original image
29.5 x 23.5 in
Condition: surface dirt, dent left corner
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
Summer Landscape
Description
An account of the resource
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>
Creator
An entity primarily responsible for making the resource
Baumbach, Harold, 1903-2002
Publisher
An entity responsible for making the resource available
Federal Art Project
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Schmeer, Samantha (biography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object Number: FA18114
Format
The file format, physical medium, or dimensions of the resource
jpeg, 883 KB
Type
The nature or genre of the resource
Still Image
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Identifier
An unambiguous reference to the resource within a given context
024
1930s
Farm
Federal Art Project
Harold Baumbach
landscape
New Deal Gallery
-
https://openvalley.org/files/original/59aed509e70844cd4407ae081c5bcf51.jpg
9f143cc27fbc997b7801567297db4b31
https://openvalley.org/files/original/4341edab5affe7a3ecc284330fdae991.JPG
c0e329d65b69f5ce9be538f4ebdaf994
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 on Canvas
Physical Dimensions
The actual physical size of the original image
30 x 24 in.
Condition: canvas slightly dented
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
Deserted Wharf
Description
An account of the resource
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>
Creator
An entity primarily responsible for making the resource
Sharp, John, 1911-1966
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)
Schmeer, Samantha (biography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18268
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.3 MB
jpeg, 16.8 MB
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
175
1930s
Federal Art Project
Iowa
John Sharp
landscape
New Deal Gallery
painting
wharf