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var str = 'Farm and Fireside';
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var str = 'From the popular printmakers of the 19th century--an estimated 2-3 new works per week--comes this characteristic lithograph of rural life. Its composition is striking for the angled view into a farm\'s domestic spaces, so viewers see what is \"behind\" both a farmer (his fields, field hands, equipment) and his wife (a hearth, furnishings, domestic servant). The two of them, along with a daughter, meet in the foreground for a tableau of well-ordered agricultural and domestic economies. Some of the tortured compositions entail the inclusion of hired labor crammed into the frame, yet relegated to the background.
Note: for the purposes of web display, original image has been cropped and edited.';
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<a href="https://www.loc.gov/item/2001699076/" target="_blank" rel="noopener">Library of Congress</a>
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var str = 'Currier & Ives';
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var str = '1878';
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var str = 'Cooper, Ken';
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Rip Darcy is orphaned the son of a seafaring family and the protagonist of a 1938 book written by Jack O'Brien and illustrated by New Deal Gallery artist <a href="https://openvalley.org/items/show/1264" target="_blank" rel="noopener">Bunty Witten</a>. As the story opens Rip is found upon a deserted Pacific Island near Pago Pago, having lived there a year with only his dog Junie for company. What follows is a series of tales that owes something to the boys adventure genre and perhaps <a href="https://en.wikipedia.org/wiki/The_Adventures_of_Tintin" target="_blank" rel="noopener">The Adventures of Tin Tin</a> by the Belgian artist Hergé. Certainly, both share a love of the global exotic and model a next generation of European explorers who are "clean, straight-forward, unafraid."<br /><br />An interesting innovation of the book is that Rip interacts with real-life members of New York City's Adventurers club, including Witten's husband George Witten. Against the backdrop of manly adventures—wild game hunting, aeronautics, and so on—there is a sweetness to Witten's illustrations that mitigates self-congratulatory tales.
Witten, Bunty, 1894-1968
Jack O'Brien, <em>Rip Darcy, Adventurer</em> (John C. Winston, 1938)
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var str = 'John C. Winston Company';
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var str = 'jpeg, 492 KB
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This print’s obviously ironic title asks us to notice what flows into the void of unemployment—all the moments of time the remain to be filled. Three men stare into the near distance, fiddle with their fingers, or even empty a pebble from a shoe. This last gesture my reference a maritime tradition of throwing old boots into the wake of a departing ship so as to ensure safe passage back home. But in this stark monochrone linoprint, it’s not clear where home is for these men.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Milwaukee, WI, Schardt studied at the Art Institute of Chicago and then the Art Students League in New York. His works were exhibited at the Federal Gallery and the Municipal Art Gallery. Beginning in the 1935 Schardt began working for the Federal Art Project in a variety of roles: printmaker, allocations administrator, facilitator in the Poster Division; he oversaw the WPA demonstration exhibits at the 1939 World’s Fair. During this period Schart and his wife, the WPA artist Nene Vibber, shared a flat with Jackson Pollock. Schardt’s background in printmaking and administrative capacities often extended beyond the galleries. In the late 1930s and early ‘40s he worked for the National Youth Administration (NYA) at its Art Production Unit, where students learned about commercial art while creating posters for the Farm Security Administration (FSA) and military recruiters (“NYA Youth”). After World War II, his friend Jackson Pollock mentions Schardt working at “silkscreen printing (cosmetics) on a big skale [sic]” (Savig 192). He also continued to mentor young artists via lesson at the Brooklyn Musuem. 4 works at <a href="https://americanart.si.edu/artist/bernard-schardt-4288" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at <a href="https://www.nga.gov/collection/artist-info.33966.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at Metropolitan Museum of Art. 2 works at the Brooklyn Museum. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-29" target="_blank" rel="noopener">FAP</a>.
<p><span style="text-decoration: underline;">Sources Consulted</span>: University of Michigan Museum of Art, <em>The Federal Art Project : American Prints from the 1930s in the Collection of the University of Michigan Museum of Art</em> (University of Michigan Museum of Art, 1985); “NYA Youths Design Air Corps Posters,” <em>Brooklyn Eagle </em>24 Aug. 1941: 6A; Mary Savig, ed., <em>Pen to Paper: Artists’ Handwritten Letters from the Smithsonian’s Archives of American Art</em> (Princeton Architectural Press, 2016).</p>
Schardt, Bernard P., 1904-1979
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var str = '171';
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var str = 'Summer in the Berkshires';
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This landscape portrays the rural mountainous region in western Massachusetts known as the Berkshires. Sketched entirely in black and white, the rolling hills and clusters of trees appear almost gloomy. A series of farms, divided by thin wire fences, make up the majority of the middle ground. The top half of the lithograph shows a series of light grey clouds, providing a sense of movement that parallels the tall, wispy grasses in the foreground.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in the Bronx, New York, Brandfield studied at the National Academy of Design, the Art Student’s League and Cooper Union. According to one profile he was “an accomplished woodblock artist and lithographer active in the graphic arts division of the New York City WPA. He has been exhibited at the Chicago Art Institute, Los Angeles Museum, Whitney Museum of American Art and the New York Public Library” (<i>A-D Magazine</i> 6.5 [June-July 1940]). As of 1932 Brandfield was working at the New York Public Library; in 1939, his lithograph “Circus” was selected for a traveling WPA show that stopped in places like Butte, MT; Casper, WY; and Miami, OK. He moved to California at least by 1960 and lived in Grover Beach beginning in 1977, where he continued to work as a printmaker. 6 works at<a href="https://www.nga.gov/collection/artist-info.33227.html" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">National Gallery of Art</span></a>. 3 works at<a href="https://americanart.si.edu/artist/dayton-brandfield-550" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">Smithsonian American Art Museum</span></a>. 17 works at<a href="https://www.metmuseum.org/art/collection/search#!/search?artist=Brandfield,%20Dayton$Dayton%20Brandfield" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">Metropolitan Museum of Art</span></a>. 2 works at<a href="https://gallery.newarkmuseum.org/view/people/asitem/items@null:1010032/0?t:state:flow=26647e75-bdb9-4d0e-9d78-0c931021427e" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">Newark Museum</span></a>.1 work at <a href="http://collection.artbma.org/emuseum/view/objects/asitem/3201/617/primaryMaker-asc?t:state:flow=01969b8d-780e-489b-bff0-2b9f074d8e64" target="_blank" rel="noopener">Baltimore Museum of Art</a>. 1 work at<a href="https://www.dia.org/art/collection?keys=Brandfield&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">Detroit Institute of Arts</span></a>. 3 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-25" target="_blank" rel="noopener"><span class="s1"> </span><span class="s2">FAP</span></a>.
Brandfield, Dayton, 1911-1993
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