10 10 295 https://openvalley.org/files/original/960704b7ab403af2ec90a9cc259e713e.JPG 084b7072ef027f270fb55816ba37421a 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 Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Painting condition: surface dirt, canvas 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 Vase of Asters Format The file format, physical medium, or dimensions of the resource jpeg, 868 KB Description An account of the resource In a darkened room, light dramatically illuminates an arrangement of flowers and dried oak leaves in a simple white vase. The leaf shapes and Sharp’s brushwork create a flamelike appearance, albeit in a more muted color palette—even the bouquet’s shadow rises sinuously upward. Highlights upon the background imply that everything here is possessed of an aura. About the Artist: 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 <a href="https://en.wikipedia.org/wiki/American_Gothic" target="_blank" rel="noopener">American Gothic</a>. 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 Colliers 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/collection-artists/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>. Works Consulted: Gertrude Benson, “Dynamic Oils and Sculpture at Academy,” Philadelphia Inquirer 25 Jan. 1953: 17; “P.O. Mural is Hung Tuesday,” Haywarden Independent 28 May 1942: 1; Kristy Raine, et al., <a href="“John%20Sharp,”">“John Sharp,”</a> Stone City Art Colony and School, web. 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 1937-04-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18267 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 174 Federal Art Project John Sharp New Deal Gallery painting still life https://openvalley.org/files/original/e4bf8bc3392d11ee298118db3695e3fa.jpg f5ad68ab77394da3ceeadf9dca6bd748 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 Photograph of oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Painting 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 April Day #1 Format The file format, physical medium, or dimensions of the resource jpeg, 826 KB Description An account of the resource From just the other side of a split rail fence, we look downhill to a pasture and then patchwork of fields in the valley below. A stream cuts across diagonally and passes under a covered bridge; a horse and foal stand in the foreground, with sheep resting behind them. It’s a peaceful moment at dawn, a few pink clouds hovering nearby. Sabalauskas’ steep ramp of solarized colors ranges from golden pastures nearby to violet mountains in the distance. Note: this digital image is from a photograph taken during the 1990s; the painting disappeared from the New Deal Gallery following its loan to the Mills Mansion in Mt. Morris, for a 2008 exhibition. According to a contemporary news account, it may have been taken "while a tour guide was showing guests artwork on the second floor" (Rochester Democrate & Chronicle 23 Sept. 2008: 15). About the Artist: Joseph Sabalauskas (1896? –1970) was a Lithuanian-born American artist active in New York during the early to mid-twentieth century. Born in Lithuania, he immigrated to the United States and arrived in New York in 1927. By 1931, records show him living in Manhattan and working professionally as an artist. He served as a private in the United States Army during World War I before establishing his life and career in New York. Although little is known about his training or exhibitions, Sabalauskas’ artistic activity is confirmed through works in the U.S. General Services Administration Fine Arts Collection, where three pieces are attributed to him. These holdings suggest he may have been connected to federal art initiatives that supported artists during the Depression era. Later in life, he resided in Kings Park, Suffolk County, New York. Sabalauskas died in August 1970 and was buried at Long Island National Cemetery, leaving limited but documented evidence of his career as a New York–based immigrant artist. Creator An entity primarily responsible for making the resource Sabalauskas, Joseph 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 Pretzer, Ron (photography) Cooper, Ken (biography) Murty, Molly (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18261 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 166 Bridge Farm Federal Art Project New Deal Gallery painting Simon Sabalauscas https://openvalley.org/files/original/9edf66f2c9b844a241db4f5ef9a0f84d.jpg ef5a721f26835ec5dd40af67e934ff1c 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 Photograph of watercolor painting 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 Yellow Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 757 KB Description An account of the resource A white vase, holding what appears to be baby’s breath and several varieties of marigolds, sits upon a table. Its blaze of yellow, orange, and red overwhelms muted pinks and mauves of the table covering and wallpaper. Rollo accentuates this emphasis through his extemporaneous patterning of the wallpaper, a casual backdrop to the painting’s more detailed flowers. Note: this digital image comes from a photograph taken during the 1990s; the painting has disappeared from the New Deal Gallery. Born Giuseppe Rollo in Ragusa, Italy, he immigrated with his family to the US in 1913 and lived in Chicago (the spelling of his name possibly dating to this time so as to differentiate him from a well-known boxer living in the city). He worked as a newsroom copy boy while studying at the Art Institute of Chicago, then moved to New York in the late 1920s. His work was exhibited in places like the Whitney Museum, Pennsylvania Academy of the Fine Arts, Carnegie Institute, and at different venues in Woodstock, NY. Based upon extant works, Rollo appears to have moved easily between landscape, still life, and portrait genres. In 1934 the PWAP commissioned him to paint the portrait of Chicago mayor Edward Joseph Kelly (Chicago Tribune 15 Jan. 1934: 4). 3 works at the <a href="https://whitney.org/artists/1112" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 3 works at the <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Rollo%2C%20Joseph/field/creatb/mode/exact/conn/and" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 1 work at the <a href="https://www.nga.gov/collection/artist-info.34262.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at <a href="https://www.dia.org/art/collection?keys=rollo&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener">Detroit Institute of the Arts</a>. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=%22joseph%20rollo%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-30" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Rollo, Joseph “Jo”, 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 1935-1940 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 #FA18255 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 162 Federal Art Project Joseph "Jo" Rollo New Deal Gallery still life https://openvalley.org/files/original/18e7b2859006048e596615e9aaf22fc9.jpg 0e875ff49463a2c9583e503013bb0009 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 Oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt, cracked slightly, pitted 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 York Markets Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource At an unidentified and humble market advertising “Fruits & Produce,” we see what appears to be a family preparing their display. The muted browns of the ground, wooden crates, and shed constitute much of the painting yet serve as a backdrop to the bright colors of the food and the warmth emanated by the farmers. Myers’ composition features several tiers, our eyes zig-zagging along diagonals of produce. A glow in the sky signifies that sunrise is near. The artist had a longstanding fascination with street markets as subject matter, as seen in <a href="https://collections.si.edu/search/detail/edanmdm:hmsg_66.3755?q=Myers%2C+Jerome&record=9&hlterm=Myers%2C%2BJerome&inline=true" target="_blank" rel="noopener">Street Market</a> (1917) and <a href="https://collections.si.edu/search/detail/edanmdm:hmsg_66.3756?q=Myers%2C+Jerome&record=10&hlterm=Myers%2C%2BJerome&inline=true" target="_blank" rel="noopener">Marketing</a> (1928). About the Artist: Born in Petersburg, VA, and traveling to New York City at age eighteen, Myers knew poverty at first hand. He took art classes when he was able at the Art Students League and Cooper Union, but was largely self-taught and perhaps motivated more by a desire to render the city honestly—an aesthetic that had much in common with the so-called “Ashcan School” of American realism of the early twentieth century. But Myers’ own familiarity with the working class, wrote Harry Wickey, meant that his subject matter “was approached from the standpoint neither of the artist, tourist, or one who was out to expose the conditions under which these people lived. He sought out the life these quarters had to offer and it transformed itself into a thing of beauty as it passed through him” (<a href="https://archive.org/stream/jeromemyersmemor00whit#page/n1" target="_blank" rel="noopener">Jerome Myers Memorial Exhibition 3</a>). A <a href="https://magart.rochester.edu/Media/images/2000.29a_A1.jpg" target="_blank" rel="noopener">self-portrait</a> late in life shows a humble, quizzical man. Widespread fame eluded Myers during his lifetime, but his paintings are held by dozens of museums, among them: 3 works at <a href="https://magart.rochester.edu/objects-1/thumbnails?records%3D9%26query%3DPortfolios%20%3D%20%221006%22%20and%20Sort_Artist%20%3D%20%22Myers,%20Jerome%22%26sort%3D52/1000" target="_blank" rel="noopener">Memorial Art Gallery</a>; 9 works at <a href="https://americanart.si.edu/artist/jerome-myers-3479" target="_blank" rel="noopener">Smithsonian American Art Museum</a>; 11 works at <a href="https://www.metmuseum.org/art/collection/search#!?q=%22jerome%20myers%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>; 20 works at <a href="https://www.brooklynmuseum.org/opencollection/artists/193/objects" target="_blank" rel="noopener">Brooklyn Museum</a>; 1 work at <a href="https://www.dia.org/art/collection/object/childrens-theatre-55265" target="_blank" rel="noopener">Detroit Institute of Arts</a>; 1 work at the <a href="https://www.corcoran.org/collection/life-east-side" target="_blank" rel="noopener">Corcoran Collection</a>; 13 works at <a href="https://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=1885" target="_blank" rel="noopener">The Athenaeum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-43" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Myers, Jerome, 1867-1940 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 #FA18213 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 120 Farm Market Federal Art Project Jerome Myers New Deal Gallery painting https://openvalley.org/files/original/f7903c72660e50322a0659a3f04b0cb7.JPG d0ff0ea3b4e0b3d3655fcf5b1eaa08f3 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 Watercolor Physical Dimensions The actual physical size of the original image 18.5 x 13.5 in. Condition: paper buckled Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life (Figured Cloth) Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource Precise outlines and imaginative color blending give this watercolor a distinctive appearance. It departs from most still lifes in giving a “ground-level” perspective of its subject matter—almost as a terrain. Fruit, flowers, and vegetables all make an appearance, along with a southwestern water vessel. Along the ground and as a sort of horizontal range are three, perhaps four patterned cloths against a gray-washed background. A note on the title: most New Deal Gallery records give the paintings title as “Still Life”; it’s not clear why the later title was added, and the frame doesn’t permit closer examination. About the Artist: Born in Gunma Prefecture, Japan, Nagai immigrated to the US in 1906, initially with a plan to study law but soon returning to his love of art—a grandfather and uncle both had been painters. In New York he studied at the Art Students’ League with <a href="https://en.wikipedia.org/wiki/Thomas_Hart_Benton_(painter)" target="_blank" rel="noopener">Thomas Hart Benton</a> for five years, whose influence can be seen in Nagai’s “Picnic” (1929) with its treatment of massy figures arranged in deep space. In 1928 the Brooklyn Daily Eagle’s art critic, Helen Appleton Read, singled out Nagai’s painting “Tea” as one of three “discoveries” from more than 1,000 exhibits at the Society of Independent Artists. He went on to exhibit at the Corcoran Gallery, Art Institute of Chicago, the Brooklyn Musuem of Art, and the ACA Gallery, among many venues. His “Japanese Landscape” appeared in a 1939 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Bena Frank, and Herman Copen also appeared. Many of In 1936 Nagai signed the Call for the <a href="https://en.wikipedia.org/wiki/American_Artists%27_Congress" target="_blank" rel="noopener">American Artists’ Congress</a>, an anti-fascist popular front organization. Near the end of his life Nagai and his artist wife Paula Rosen retired to Orlando, FL area. 1 work at the <a href="http://collection.whitney.org/artist/934/ThomasNagai" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-2" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nagai, Tomizo (“Thomas”), 1886-1966 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 1935-1940 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 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 212 Federal Art Project New Deal Gallery painting Tomizo "Thomas" Nagai Watercolor https://openvalley.org/files/original/ba9db1a5796eb82a4abf8c2885b9fed2.JPG 66709468715cb79a9487e5d8480002df 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 Engraving 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 Three Able Seamen Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Description An account of the resource This print’s obviously ironic title asks us to notice what flows into the void of unemployment—all the moments of time that 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 may 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. About the Artist: 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 Schardt 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 lessons 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>. 4 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>. Sources Consulted: University of Michigan Museum of Art, The Federal Art Project : American Prints from the 1930s in the Collection of the University of Michigan Museum of Art (University of Michigan Museum of Art, 1985); “NYA Youths Design Air Corps Posters,” Brooklyn Eagle 24 Aug. 1941: 6A; Mary Savig, ed., Pen to Paper: Artists’ Handwritten Letters from the Smithsonian’s Archives of American Art (Princeton Architectural Press, 2016). Creator An entity primarily responsible for making the resource Schardt, Bernard P., 1904-1979 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18264 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 171 Bernard P. Schardt Federal Art Project Great Depression lithograph New Deal Gallery https://openvalley.org/files/original/2aada556b0457d10f9690402e2ed86e9.jpg 77863f0967fb4f0fadf783dce68ae903 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 Oil painting 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 Mexican Bric-a-Brac Description An account of the resource The range of bric-a-brac depicted here is quite broad: a blue glass bottle, a painted ceramic plate, a napkin and cloth, a pair of blue shoes, a flower, a magazine, and what appears to be an avocado. Attempting to chart an underlying symbolism, in the manner of traditional still lifes, is perhaps less important than its Mexican location. Assembled with seeming informality, each object has an American counterpart that would be less unfamiliar. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 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 1937-06 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 #FA18371 Format The file format, physical medium, or dimensions of the resource jpeg, 964 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 199 Federal Art Project Helen Winograd New Deal Gallery still life https://openvalley.org/files/original/4b9fa3410e00febae1206d1d260f345c.JPG b1efa3b4e3910d70de4234d86e9ca5a1 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 Oil painting Physical Dimensions The actual physical size of the original image 20 x 16 in. Condition: chipped, 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 Flowers and Fruits Description An account of the resource Winograd uses a post-impressionist framework to depict household objects and the geometry of their surrounding space. Shapes are disrupted by vertical lines (like the pears and pitchers) or become radically abstracted (like green leaves as diagonals). The painting’s vivid colors and casual domesticity keep it from appearing clinical; rather, like the title of a magazine partially visible at lower left, it manifests the “Art” of everyday vision. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 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 #FA18370 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 198 Federal Art Project Helen Winograd New Deal Gallery still life https://openvalley.org/files/original/2c11cea3dc262cfaad992225b113247d.jpg 5807e625b53e22ad13e7d43d26e20b23 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 Oil painting Physical Dimensions The actual physical size of the original image 23.5 x 19.5 in. Condition: slightly cracked canvas 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 November Scene Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource The center of this landscape is a tree with gold and yellow leaves, a few just turning to orange. Nearby bushes already have dropped their leaves, allowing for views across a pond or river to the other shore, and mountains in the far distance. Everything except the foreground is painted in hues of blue, white, and green—the better to set off the blaze of color in front of us. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, then in 1913 teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 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 1936-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18235 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 142 Claude A. Patterson Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/bbbdd3b5c508af7c02e9d3f996057460.JPG 4e05bb649889fc1320100ca865ca1fd9 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 Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: torn, 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 July Flowers Format The file format, physical medium, or dimensions of the resource jpeg, 957 KB Description An account of the resource This dramatic still life is created using bold brush strokes and skillful blending, combined with high-contrast lighting. Two vases—one of gladiolus, the other filled with yellow roses—sit upon a small table near a brick wall and arched window. A stem without a rose blossom lies alone, enigmatically. About the Artist: Born in St. Petersburg, Russia, Kadulin attended art schools in Moscow and Kiev, then turned to a career as a cartoonist for one of Petrograd’s leading newspapers. Postcard versions of his cartoons became very popular. His work seems to have been a mix of political and social satire—for example a “drunken series” or “student types”—and it seems likely that his irreverent sense of humor is what led him to flee the Soviet Union. At this point information becomes scarce. In 1924, five of Kadulin’s caricatures appeared in a New York Times story on <a href="https://nyti.ms/2S6b0ih" target="_blank" rel="noopener">“Festivals and Parades in Russia”</a>; lacerating images of (for example) a “Red Army Soldier in Full Regalia,” bottles of alcohol in each hand, suggest that he was deeply critical of the new regime. There is record of Kadulin being hired in 1926 by a new Tampa restaurant named Katinka to create interior and exterior wall murals using his talent for caricature. It’s quite possible that he lived in Tampa for a period: he traveled to Florida by way of Cuba in 1930, was married in Havana 1931, then traveled again to Florida 1932. Kadulin became a US citizen in 1938. As of 1942 he was living in New York City, then in New Rochelle as a commercial artist. 42 caricatures at <a href="https://commons.wikimedia.org/wiki/Category:Caricatures_by_Vladimir_Kadulin" target="_blank" rel="noopener">Wikimedia</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6" target="_blank" rel="noopener">FAP</a>.               Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132. Creator An entity primarily responsible for making the resource Kadulin, Vladimir Fedorovich, 1884-1957 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18187 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 094 Federal Art Project New Deal Gallery painting still life Vladimir Kadulin