1 10 261 https://openvalley.org/files/original/cfab7509ac359020ccf4dd84e6a8aeef.jpg f6243c0d8e6f04411a7a3851d844375f https://openvalley.org/files/original/7705a7745123cb7da8504634db70c85e.jpg 1110f16b3c0d193c0a230f523fa8f766 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." 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. 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. 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 Tree Surgeons Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.1 MB Creator An entity primarily responsible for making the resource Warsager, Hyman J. (1909 - 1974) 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 c. 1935 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1540 https://openvalley.org/files/original/2a8801779b210c175cbf0603186a1877.jpg 67c2997e324e61ff1948c5b6fb817585 https://openvalley.org/files/original/f748f3b8428809eca81787d3b882ba4b.jpg 3d0fb88b05173860c26954ba2f8dfa2c 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." 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. 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 Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 5 1/8 x 11 in. Framed: 17 1/4 x 21 in. 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 Theatre Street Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 791 KB Creator An entity primarily responsible for making the resource Richter, Lillian (1915 - 2000) 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 c. 1935 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1462 Type The nature or genre of the resource Still image Federal Art Project Lillian Richter lithograph New Deal Museum Theater https://openvalley.org/files/original/c974529cd0b4862fab670187d4999f17.jpg c84f3670a46ca5ec0a8486c42cd9bad7 https://openvalley.org/files/original/cc32374308206d8cacfd105539e9fafb.jpg 1a801b57eaf1a5715883ec2131e2db54 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." 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. 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 Lithograph on paper Physical Dimensions The actual physical size of the original image 10 x 10 in. 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 Seamstress Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 752 KB Description An account of the resource About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) 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 c. 1935 Contributor An entity responsible for making contributions to the resource Pasiak, Olivia (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1104 Type The nature or genre of the resource Still image Fashion Federal Art Project Harold Anchel lithograph New Deal Museum Sewing Room https://openvalley.org/files/original/7350b33246dc842b699578771178bc57.jpg 0045800d7fbdd13797ce914460f51063 https://openvalley.org/files/original/45d408b329c153040623eef1f8a88bd5.jpg 3e4c4871f8808f0d73735b73760cc06e 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." 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. 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 Lithograph on paper Physical Dimensions The actual physical size of the original image 8 1/2 x 12 in. 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 Bridge Worker No. 2 Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB jpeg, 1.5 MB Creator An entity primarily responsible for making the resource Murphy, Arthur G. (1906 - 1991) 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 1936 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1350 Type The nature or genre of the resource Still image Arthur G. Murphy Federal Art Project industrialization Labor lithograph New Deal Museum https://openvalley.org/files/original/fee61b7ad3f05675150110fe15af5a0a.jpg 54d22a9eaa866246fb49dc2167d47fde https://openvalley.org/files/original/a2dedfda7a08ad82033624c196a9d673.jpg 0fae9da7ed47149d75685a1a60b2cf35 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." 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. 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 Aquatint on paper Physical Dimensions The actual physical size of the original image Print: 6 1/4 x 8 1/2 in. Framed: 15 1/4 x 18 1/4 in. 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 Bargain Description An account of the resource About the Artist Born in New York City in 1903, Hugh Pearce Botts was an accomplished American artist. He studied at Plainfield High School in New Jersey and Rutgers University and later received his formal art training at the National Academy of Design. His teachers included Roy Hilton, Charles Curran, Charles W. Hawthorne, Ivan G. Olinsky, and William Auerbach-Levy, whose diverse approaches, from impressionism to portraiture to caricature, shaped Bott’s development as a painter and printmaker. Botts went on to work with various institutions, including the Carnegie Institution, Queens College, Princeton University, Pennsylvania State University, Syracuse University, and the American Museum of Natural History. His professional work ranged from landscapes, cityscapes, and industrial architecture to portraits of working-class subjects. He also created prints that depicted scenes of home life, often using cartoon-like facial features to express emotion and concentration. This expressive quality is especially visible in his <a href="https://nationalacademy.emuseum.com/people/1149/hugh-pearce-botts" target="_blank" rel="noopener">self-portrait</a>, painted in oil on canvas. 94 works and sketches at <a href="https://magart.rochester.edu/artist-maker/info/42?sort=3" target="_blank" rel="noopener">Memorial Art Gallery</a>. 18 works at <a href="https://collections.newarkmuseumart.org/search/Botts" target="_blank" rel="noopener">Newark Museum of Art</a>. 3 works at <a href="https://onlinecollections.syr.edu/advancedsearch/Objects/people%3Abotts" target="_blank" rel="noopener">Syracuse University Art Museum</a>. 2 works at <a href="https://americanart.si.edu/artist/carl-gustaf-nelson-3511" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 8 images at FAP. Creator An entity primarily responsible for making the resource Botts, Hugh Pearce (1903 - 1964) 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 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg 708 KB Type The nature or genre of the resource Still image Aquatint Federal Art Project Great Depression Hugh Pearce Botts New Deal Museum https://openvalley.org/files/original/8d4579a0f2d6544101b56b1bc748bffe.jpg a84dbfb5d80ca17b6d9770e4d3135661 https://openvalley.org/files/original/069288c8b5ebb1528a831bb155329d40.jpg 02abfa807cba7a8041c6182d852604a0 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." 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. 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 Etching on paper Physical Dimensions The actual physical size of the original image Image: 10 x 8 in.  Frame: 18 x 15 in. 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 Hunter Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 961 KB Creator An entity primarily responsible for making the resource Skolfield, Raymond White (1909 - 1996) 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 Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1512 Type The nature or genre of the resource Still image Etching Federal Art Project Hunter New Deal Museum Raymond White Skolfield https://openvalley.org/files/original/df165a03bddff6c2af91a0b098723308.jpg 115d78beaf1ca0a380011ca398eb0d5c https://openvalley.org/files/original/bb9fd824ceec74d543d77dbd0e9638b1.jpg 66657e4a9057e1ca033150e3c61114e5 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." 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. 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 Lithograph on paper Physical Dimensions The actual physical size of the original image Print: 10 1/2 x 14 x 10 1/2 in. Framed: 17 1/4 x 21 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 Headed South Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 773 KB Description An account of the resource About the Artist Born Mabel Jacque Williamson in Cincinnati, OH, Dwight was one of the more controversial and prolific lithographers of her time. She studied painting at the Hopkins School of Art in San Francisco, CA in her twenties, travelling to Paris, Egypt, India, and other destinations after her studies. She married Eugene Higgins in 1906 before divorcing in 1921, when she changed her last name to Dwight (for reasons unknown). Even before making art full time, she had become a champion of socialist art and ideals, inspired by her time in college. “I was born with a hatred for the duality of poverty and riches,” she recalled. In 1926, at the age of fifty, Dwight began making her first lithographs and by 1928 her work was displayed at the Weyhe Gallery in New York City. Dwight’s main subjects were the ordinary residents of New York City, depicting their lives during 1920s opulence and then the Great Depression. Dwight’s lithographs offered an unflinching, documentary view that was suffused with social commentary. As she later explained, “There are always artists who cannot be satisfied with the credo of art for art’s sake. They must tell stories, express opinions, and ‘take sides’” (“Satire in Art” 151). Dwight observed, however, that the great satirists like William Hogarth rarely made use of “arbitrary distortion,” and her lithographs usually had realistic and inclusive features—such as rounded forms and subtle lighting—that create unity among its subjects. Dwight brought complex social issues to an accessible medium with subtlety and artistic integrity. Dwight was employed by the Federal Art Project (1935-1939) and was a member of the American Artists’ Congress, which championed socialist policies and promoted artists’ rights. By the end of her career in 1941, she had created more than a hundred lithographs collected at a variety of museums and universities. 27 works at <a href="https://whitney.org/artists/388" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 19 works at <a href="https://www.metmuseum.org/art/collection/search?q=%22mabel+dwight%22&offset=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 20 works at <a href="https://americanart.si.edu/search/artworks?content_type=artwork&persons%5b%5d=2611" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 23 works at <a href="https://www.cartermuseum.org/artists/mabel-dwight" target="_blank" rel="noopener">Amon Carter Museum</a>. 20 works at <a href="https://www.nga.gov/artists/6498-mabel-dwight/artworks" target="_blank" rel="noopener">National Gallery of Art</a>. 10 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-37" target="_blank" rel="noopener">FAP</a>. Works Consulted:Mabel Dwight, “Satire in Art," in Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project, ed. Francis V. O'Connor (1973) <a href="https://archive.org/details/artformillionses00ocon/page/151/mode/1up" target="_blank" rel="noopener">Link</a>; David Herman. “Mabel Dwight: Art as a Living Influence on the World,” Greenwich Village Society for Historic Preservation (2026) <a href="https://www.villagepreservation.org/2026/03/18/mabel-dwight-art-as-a-living-influence-on-the-world/" target="_blank" rel="noopener">Link</a>; Library of Congress, Life of the People: Realist Prints and Drawings from the Ben and Beatrice Goldstein collection, 1912-1948 (1999) <a href="https://archive.org/details/lifeofpeoplereal0000unse/mode/2up?q=%22mabel+dwight%22" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Dwight, Mabel (1876-1955) 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 c. 1935 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1211 Type The nature or genre of the resource Still image Federal Art Project lithograph Mabel Dwight Marine Art New Deal Museum https://openvalley.org/files/original/d2b6aaf98c5a70ac05cbd314d877f1c0.jpg 0bb760b30e84a84967144b94cf3eb2dc https://openvalley.org/files/original/11993ca57faa41c1b072cb3ac4e9512d.jpg 919f78b660f792312848cf47fbd706c0 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." 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. 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 Aquatint and color etching Physical Dimensions The actual physical size of the original image Image: 11 7/8 x 14 7/8 in. Sheet: 14 1/8 x 17 7/16 in. 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 Blue Clown Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.2 MB Description An account of the resource In Blue Clown, Peck presents a hauntingly stylized figure portrayed almost entirely in deep blue-teal tones, creating a dreamlike yet unsettling atmosphere. Its blue tonal effects are created through the aquatint process, a technique that uses “acid to eat into the printing plate creating sunken areas which hold the ink” (Tate). The clown’s face dominates Peck’s composition, built from geometric contours that curve around exaggerated features: wide circular eyes, a bulbous nose, and sharply angled eyebrow arches and party hat that cut across the upper portion of the image like a dark blade. Fine etched lines and layered textures give the surface a grainy, atmospheric depth while speckled highlights scattered across the background evoke a starry, suspended void. The palette’s limited range intensifies the emotional focus, turning the clown from a symbol of entertainment into a solitary and introspective figure. Within the context of its time, the lithograph can be read as reflecting the psychological isolation felt by many artists during the Great Depression: creative individuals supported by federal programs yet still grappling with uncertainty and alienation. Peck’s distorted proportions and shadowed tonalities subtly transform the clown into a metaphor for the artist himself: a performer expected to produce cultural vitality while privately confronting the quiet anxieties of life in Depression-era America. About the Artist Augustus Hamilton Peck, affectionately known as “Gus” to those who worked with him, was born in 1906 in Frederick, Maryland, but spent most of his life growing up in and working in New York City (NYC). He was a painter, an etcher, a cartoonist, an illustrator, and an educator. Most notably, he was a well-known artist working for the Works Progress Administration (WPA) Federal Art Project, during which he was known to create works focusing on the figure of the clown. In the late 1930s, WPA Federal Art Program exhibits began popping up across the country to show works of these artists, often encapsulating the theme of Contemporary New York where Mr. Peck’s pieces were featured. Beyond his time working for the WPA, Peck taught art classes to students from working class families in NYC, and later was an illustrator for Fawcett Publications in Connecticut. His passion for the arts was evident when, in 1940, he <a href="https://archive.org/details/sim_newsweek-us_1941-10-20_18_16/page/69/mode/1up?q=%22augustus+peck%22#:~:text=York.%20%241.50.)-,Genius%20in%20the%20Bud,-Nearly%20all%20children">selected 75 students from Manhattan’s public and private schools</a> to instruct for free during Saturday art classes, in a studio that he borrowed. His friends helped raise $4,000 to fund the project for the students, which was, as Peck called it, “a chance to express their better instincts instead” [of learning how to hate]. Considering himself more of an “editor” than an instructor, Peck helped curate the students’ artwork, who ranged from <a href="https://books.google.com/books?id=q0wEAAAAMBAJ&pg=PA78&dq=%22augustus+peck%22&hl=en&sa=X&ved=2ahUKEwjRuv-L3tGTAxWJKzQIHUbDJu8Q6AF6BAgJEAM#v=onepage&q=%22augustus%20peck%22&f=false">10 to 15 years old and represented 24 nations</a>, to be exhibited on the walls of the Whitney Museum of American Art in New York. Many of Peck’s own works are now found in museums across the country. One of his best-known prints, from 1938, is <a href="https://www.philamuseum.org/objects/74736">Blue Clown</a>; one amongst dozens of artworks that portray recurring subjects of the clown, human figures, and the circus: <a href="https://www.brooklynmuseum.org/objects/48397">Head of a Clown (Clown with Red Nose)</a> 1938; <a href="https://www.brooklynmuseum.org/objects/48395">Clown as a Fireman</a> 1937; <a href="https://www.clevelandart.org/art/1934.73">Circus Boy</a> 1920-34; and <a href="https://www.clevelandart.org/art/1930.164">Circus, No. 1</a> 1920-30. 20 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Augustus+Peck">Brooklyn Museum</a>. 14 works at <a href="https://www.clevelandart.org/art/collection/search?artists=Augustus%20Peck">Cleveland Museum of Art</a>. 7 works at <a href="https://www.philamuseum.org/collection?artist=Augustus%20Peck">Philadelphia Museum of Art</a>. Creator An entity primarily responsible for making the resource Peck, Augustus (1906 - 1975) 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 1935-1942 Contributor An entity responsible for making contributions to the resource Wyatt-Saylor, Savannah (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 25607 Type The nature or genre of the resource Still image Aquatint Augustus Peck Clown Federal Art Project New Deal Museum https://openvalley.org/files/original/b2897eca2da1e1871bf7778005eead10.png 444f2a64dfedae5a162b85db39c14b68 https://openvalley.org/files/original/3b33b36191d51ce6bb1b51edbf07b410.png 53ef556dc5baf48141c210fbd88416ae 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." 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. 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 Etching Physical Dimensions The actual physical size of the original image 9 x 4 3/8 in. 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 Dance Creator An entity primarily responsible for making the resource Sternberg, Harry (1904 - 2001) 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 c. 1935 - 1942 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 27693 Format The file format, physical medium, or dimensions of the resource png, 2.8 MB jpeg, 301 KB Description An account of the resource Three human figures soar against an idealized representation of cosmological objects: stars, comets, nebulae. The contrast between the void of space and luminous objects is extreme.  Muscular bodies and the etching's visual style owe something to the visionary works of 19th-century poet / printmaker William Blake, especially a sensibility representing human spirit instead of a narrow fidelity to realism, the latter famously described as a product of "mind-forg'd manacles." What appear to be stars in Sternberg's print have a similarity to Blake's mythology of a patriarchal god--sometimes named Urizen, punning on "your reason"--whose presence is <a href="https://en.wikipedia.org/wiki/William_Blake#/media/File:Europe_a_Prophecy,_copy_D,_object_1_(Bentley_1,_Erdman_i,_Keynes_i)_British_Museum.jpg" target="_blank" rel="noopener">a circular disc blocking the source of divine light</a> that everyone possesses. The measuremnts of science and materialism of capital shrank human potential. Sternberg repeatedly was drawn to flying bodies in his work: <a href="https://www.philamuseum.org/objects/67967" target="_blank" rel="noopener">acrobats</a>, <a href="https://www.philamuseum.org/objects/68032" target="_blank" rel="noopener">aeronautical guides</a>, and even <a href="https://www.philamuseum.org/objects/68019" target="_blank" rel="noopener">spirits</a> of musical instruments. Works like The Dance can be juxtaposed to his explicitly political works and their outrage over extracting labor from human bodies--often set in <a href="https://www.philamuseum.org/objects/68058" target="_blank" rel="noopener">factories</a> or <a href="https://www.philamuseum.org/objects/68063" target="_blank" rel="noopener">underground mines</a>. Federal Art Project Harry Sternberg lithograph New Deal Museum https://openvalley.org/files/original/3edb4d3ebd6f815da97cb6e1c009afa7.jpg f29a4565df986a0422d2bec15f69a83c https://openvalley.org/files/original/9a3b35aee1773afc2bc889dbc5c6e4ce.jpg a1a7a50755c0fecb1494cf728c88fabd 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." 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. 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 Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 10 1/2 x 17 in. Sheet: 14 1/2 x 23 in. 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 Tempest Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 1.2 MB Creator An entity primarily responsible for making the resource Moir, Robert (1917 - 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 1941 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1323 Type The nature or genre of the resource Still image Description An account of the resource In Moir's murky, expressionist print, the inner state of its subject at center has overwhelmed the world around him. Or perhaps it's simply understandable how, given the dark and claustrophobic setting, a person's psychic state would be tempestuous. This permeable condition is created by a blurring between the edges of objects and their surroundings; figure and ground are very indistinct, as with a woman standing at left. Given her pose, and the man's seated position, it's possible that we're in a subway car or public bus--a claustrophobic proximity with strangers. Viewers see the simmering anger on the man's face, but perhaps no one else does. Federal Art Project lithograph New Deal Museum Robert Moir