2 10 261 https://openvalley.org/files/original/03e50e9ca860be695133690c293fc964.jpg e814de177abecdf6e36799a5f3f9485e https://openvalley.org/files/original/3e4f027dc49154c3f28793dbdeb3d5ca.jpg dd6eefeb975d121dc6aa54d7d02b7fa7 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: 9 7/8 x 12 in. Sheet: 11 1/2 x 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 2.7 MB jpeg, 2 MB Title A name given to the resource Backyard Description An account of the resource We look out from an elevated view towards a small lawn, enclosed between several city apartment buildings of varying sizes. An added layer of fence and trees can be seen between the apartments and lawn as well. The straight lines of the buildings contrast heavily to the curved and organic shapes of the trees and lawn. This gives a sense of uniformity to the man-made elements compared to a fluidity in the natural ones. The apartments take up a large portion of the print with their rigid verticality, that extends out of frame, leaving no clear skies visible. The view feels extremely small and communal, something that may not be thought of alongside the idea of a backyard in America. Compare Backyard to Faye's similar print, <a href="https://www.nga.gov/artworks/146231-old-apartment-house" target="_blank" rel="noopener">Old Apartment House</a>, showing neglected neighborhoods surrounded by industrial zones. Both give a notion of how valued privacy can be amidst the density of urban structures. The actual yard of the print is very small compared to other elements and is heavily obstructed by trees and buildings. One lone person can be seen on the bottom of the print. With no discernable features about the person, they are simply a neighbor to the viewer. The perspective gives a sense that you are meant to be looking out of your own apartment window: what you see as your "backyard" really is the lives of all the other people surrounding you. About the Artist Harold K. Faye was born in La Grange, Illinois. Faye pursued formal training at the AIC, Art Institute of Chicago. He made his way to New York City in his early 20s and enrolled in the National Academy of Design like many others of the time. Faye specialized in graphic prints, or lithographs, throughout his entire career. His works primarily depicted New York’s working-class locations and experiences, choosing not to idealize city life. Often favored industrial locations, like factories and locomotives, and densely constructed areas. He often featured smokestacks and dark-colored skies in his works. This was possibly drawing on social themes of urban density and pollution-stricken living. Working-class Americans were not privileged with affording nice living spaces. Faye was never a particularly famous artist but was featured in several FAP and AIC exhibits throughout the late 1930s for his lithographic work. Later in life, Faye pursued a career in cartography, moving on from city lithographs to map-making. Faye began exploring industrial design, and used his background in art to create exceptional maps for several <a href="https://archive.org/details/worldshistory0000fred/page/20/mode/2up">books</a> and <a href="https://archive.org/details/magazine-of-the-year_1947-08_1_6/page/10/mode/2up?q=%22harold+faye%22+maps">magazines</a> . Harold Faye passed away in 1980 in Irving, NY. 6 works <a href="https://magart.rochester.edu/artist-maker/info/717?query%3D%5bExhibitions%5d_ID%20%3D%20%22761%22%26sort%3D26%26page%3D51">at Memorial Art Gallery</a>. 1 work at <a href="https://www.hrm.org/collection/90-10-8/">Hudson River Museum</a>. 5 works at <a href="https://www.nga.gov/artists/33410-harold-faye">National Gallery of Art</a>. 16+ works at <a href="https://art.gsa.gov/people/1314/harold-faye/objects/images?page=1">US GSA</a>. 2 works at <a href="https://collections.mcny.org/CS.aspx?VP3=DamView&VBID=24UP1GZ2MN916&SMLS=1&q=Harold+Knickerbocker+Faye+(1910-1980)&RW=1366&RH=600">Museum of NYC</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-6">FAP</a>. Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Creator An entity primarily responsible for making the resource Faye, Harold (1910 - 1980) Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Pallotta, Florence (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 1216 Type The nature or genre of the resource Still image City Federal Art Project Harold Faye lithograph New Deal Museum Urban Setting https://openvalley.org/files/original/31f5c071e60f260db22597c2a1023bbe.jpg d794213ac0615eec89f4fa8b7f9823df https://openvalley.org/files/original/24a79c6d2baf83b73c7d219b5f66a057.jpg a3a01b5268880128ee246f1370f2f077 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 on canvas Physical Dimensions The actual physical size of the original image 30 x 24 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/. Description An account of the resource “City Landscape” uses a beautiful palette of earth tones set against concrete infrastructure, especially an overpass that curves across the sky. Beneath that new automotive world, a jumbled cluster of buildings appears at left. It's difficult to tell whether the road in the foreground--which takes up a large portion of the painting, almost like a river--is concrete or dirt. Regardless, no automobiles appear in the painting and the sidewalk edges flow organically. Perhaps this absence of movement and human actions is what led Sievan to envision the scene as a landscape. On the right side of the street, we see two people standing who match the painting's color scheme; however, on the opposite side of the street, two people wear white coats--maybe indicating a wealth gap. Faint lines across the center could be a train track, still carrying this variety of people who are traveling separately. Title A name given to the resource City Landscape 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 Drexler, Nora (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 822 Format The file format, physical medium, or dimensions of the resource jpeg, 2.6 MB jpeg, 1.2 MB Type The nature or genre of the resource Still image Creator An entity primarily responsible for making the resource Sievan, Maurice (1898 - 1981) City Federal Art Project Maurice Sievan New Deal Museum painting https://openvalley.org/files/original/42212836f249522b0e9f74f5b055880a.jpg 5c5a3d7b0d72d18dd1000f10ff707a94 https://openvalley.org/files/original/284857da530104f5762e92b31bd61e1a.jpg 68f59cb6defcb30804a99411dbafa256 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: 12 7/8 x 9 7/8 in. Framed: 21 x 17 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 New Hampshire Auction Description An account of the resource Reed's print presents a crowded rural auction taking place in front of a large farmhouse barn. A crowd gathers closely together with movement towards the barn’s open doorway, where an auctioneer can be seen standing on a pedestal above the crowd. The people in the scene are holding various objects such as bedframes, chairs, wheelbarrows, ladders, and other household items. Given its date, we might infer that bankruptcy is forcing the sale. The print is characterized by the artist's signature layered crosshatching and use of shading, to create contrast that draws the viewer's eye in. Campbell uses negative space to create depth in a busy area, intentionally allowing the subjects to blend into the white paper as they move into the background of the piece. Campbell uses sharp lines to cut through the blended background elements such as the ground, sky, and parts of the crowd. It’s notable that structures and objects of interest are structured in front of curved, blended elements of the work that are meant to show movement such as the busy crowd or the clouded sky.  While there's a strange energy to people carrying off purchases, a young girl points at a bedframe that might have belonged to her. Creator An entity primarily responsible for making the resource Campbell, Blendon Reed (1872 - 1969) Publisher An entity responsible for making the resource available Federal Art Project Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 734 KB Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Killelea, Keira (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1153 Type The nature or genre of the resource Still image Bankruptcy Blendon Reed Campbell Farm Federal Art Project Great Depression lithograph New Deal Museum https://openvalley.org/files/original/b4802ccc15c280ca7e86ab8498d385c4.jpg f2866e65cb007466c98292cf082ab49c https://openvalley.org/files/original/8799d2fa53e92c2f194b9752a931a127.jpg 190f7a0828e20a278d816fee35239b81 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: 14 3/8 x 10 1/4 in. Framed: 21 x 17 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 Lonely House Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB jpeg, 714 KB Description An account of the resource A house is pictured by itself, but what makes it lonely? Many small details, along with Dwight's stylized composition, supply the answer. The building's stone walls still look sturdy, but its chimneys and shutters are in ill-repair; trees extended over its roof haven't been pruned in some time. There may be some kind of animal perched there. We can discern traces of former caretaking, like the posts of a fence and specimen plantings that are overgrown. What seems to be a conservatory or greenhouse is visible at right, above it an enigmatic cruciform object. Dwight's brushstrokes are create soft, even pillowy masses of foliage, clouds, and even furrows in the road--quite incongruous with the sense of abandonment that may be compared with Dorothy Varian's <a href="https://openvalley.org/items/show/1052" target="_blank" rel="noopener">Deserted House</a> (1935). Here, the sky's mottled lighting is reproduced upon the landscape below, with only a pair of lighted windows at left to suggest any remaining inhabitants. In just a few years Virginia Wade Burton's children's book, <a href="https://en.wikipedia.org/wiki/The_Little_House_(picture_book)" target="_blank" rel="noopener">The Little House</a> (1942), would teach readers to identify with an abandoned home that seems to already inform Dwight's print. 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 1938 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) 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 1194 Type The nature or genre of the resource Still image Federal Art Project landscape Mabel Dwight New Deal Museum Ruins https://openvalley.org/files/original/92925cae5d5a2f749888975798ee226a.jpg 2ebb45d05feff337f4ab854d36d23d74 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 Drypoint on paper Physical Dimensions The actual physical size of the original image 9 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 Two Hoboes Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 1.6 MB Description An account of the resource Two men create a makeshift camp, which seems to have involved chopping wood and heating cans of food. They appear to be worn and tired and dressed in simple clothing. Zilzer’s title alerts us that the pair may be migrant workers who travel by (illegally) hopping trains, distinguished from “tramps” who traveled but didn’t seek work. The older man, at left, is wearing what may be a kepi hat from the Civil War era; his leg is fitted with a prosthetic, whether due to military casualty or a train accident is unknown. The other man’s contribution to an improvised household is music (in the form of a simple flute) and perhaps contact with current events, in the form of a rolled-up paper in his pocket. They’re arranged to be facing each other, creating a loosely circular whole. The scene’s composition is quite strange. Its foreground is very detailed and makes use of drypoint lines to create modeled, tangible objects—deeply worn ones at that. The background, however, shows only the outline of trees and stylized “speed lines”: a passing train? a minimalist backdrop? something more existential? Regardless, Zilzer’s shallow space keeps our focus on the two individuals, emphasizing the dire conditions of their survival. His knack for evoking emotional connection can be experienced by looking at the expression on the older man’s face: weariness personified, yet somehow still affected by music. However briefly, an invisible or reviled class of Americans confronts its viewer in their abandonment and persistence. Creator An entity primarily responsible for making the resource Zilzer, Gyula (1898 - 1969) 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 Hudson, Timothy (description) Helquist, Morgan (photograph) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1590 Type The nature or genre of the resource Still image Federal Art Project Gyula Zilzer Hobo Homelessness lithograph New Deal Museum https://openvalley.org/files/original/884c2ddf765696b7bb262562a08961c8.jpg b028671db6f4860e3d811b0e4adc2784 https://openvalley.org/files/original/7b3129ed2930f74b2766a0d554e56767.jpg 7413a9b8195a99215c4b801aa760f774 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: 11 3/4 x 9 1/2 in. Framed: 21 x 17 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 Storm Over Provincetown Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 467 KB Description An account of the resource This lithograph features a view of two small Provincetown homes, seemingly situated in a village, with a deep storm brewing overhead. Though not overtly noticeable, there is a man traipsing between the shacks on what appears to be a first road. This dirt road is one of the strongest lines in the lithograph, bending into the scene and drawing the viewer in. There is a strong contrast in the values of this piece: the faces of the homes are in full light, but their sides are cast into nearly full shadow. The clouds overhead are also very dark, which makes the scene even more ominous. The shapes in this piece are very clear in the form of the houses, but become more nondescript and chaotic in the clouds and ground. The piece feels slightly top-heavy in terms of balance, though even laterally. Noticing the small details in this piece creates a fuller sense of its story than what is available at first glance. The trees sway slightly, and the leaves are pulled horizontally, which implies high winds, and the juxtaposition of the small bolt of lightning next to the powerlines creates a subliminal sense of danger. There is also an emptiness beyond the lonesome man, which prompts the viewer to consider how everyone in this town, whom we cannot see, is faring in this storm. Creator An entity primarily responsible for making the resource Gregory, John Worthington (1903 - 1992) 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 Hejaily, Monica (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1271 Type The nature or genre of the resource Still image Federal Art Project John Worthington Gregory lithograph New Deal Museum Provincetown, MA https://openvalley.org/files/original/c17684fa324a8c3cc21697a9585d0083.jpg 6c0b38a6e291948d74ed2588d35c5745 https://openvalley.org/files/original/f4024768bfae26467ba381fa2cff9536.jpg ed3ecdd19e740fd30f55f20d74eec59a 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 Color woodcut on paper Physical Dimensions The actual physical size of the original image Image: 11 x 13 3/4 in. Sheet: 15 1/2 x 18 3/4 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 Girl Sewing Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.3 MB Description An account of the resource Bernard Schardt’s graphic art "Girl Sewing” displays Schardt’s style the most, showing an African American woman at home sitting alone in her home sewing. Schardt print here is a color wood cut which was a popular choice among artists during this period. Which is why Schardt chose a geometric style especially in the background of the print. Schardt uses bright colors such as orange and blue for her dress, as well as with the couch. However, the floor and furniture use darker colors, to show the mundaneness of the scene unfolding. The subject is casual clothing, nothing that seems to be expensive or extravagant, and she is wearing slippers. Schardt uses the space in the painting, with the subject dominating it. Schardt doesn’t choose an exciting scene nor a happy subject, he stresses the ordinariness of the girl. The girl could be another face in the crowd, and that is what makes her the perfect subject for this specific period. Schardt's focus during this time is to display the ordinary and the unseen, which is why his use of the subject taking up the entirety of the print making the viewer focus on someone they might never have before. 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 c. 1935 Contributor An entity responsible for making contributions to the resource Lay, Giavanna (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1491 Type The nature or genre of the resource Still image Bernard P. Schardt Federal Art Project lithograph New Deal Museum https://openvalley.org/files/original/4d48d9bb768487e01c075aaebc055931.jpg 64fa56ba251043ab0d6ab9b1f34732df https://openvalley.org/files/original/075cc50158dca2a14e6a096e6edb98a9.jpg f543e071d374a4afbc3a42e90f4655b8 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 on canvas Physical Dimensions The actual physical size of the original image Canvas: 24 x 20 × 24 in.  Frame: 25 1/8 x 21 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 Third Avenue El 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 1934 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (description and biography) Helquist, Morgan (photography) Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.3 MB Description An account of the resource Third Avenue El, set in New York City, features the corner of an intersection with four uniquely colored buildings. One has a brick-like color and texture, and the rest with uncommonly bright colors like pale blues, greens, and reds. These bright colors give the painting a calming and happy mood. The townhouse-style buildings include a few small businesses, such as a laundry and a shop. The scene is set in the winter, with snow on the streets and people bundled in hats and coats as they walk along the sidewalks. Sunlight shines directly on the buildings, making the colors appear even brighter and emphasizing the whiteness of the snow. The viewer’s point of view is at eye level with the buildings, which makes the facial features of the people on the sidewalks blurry and shifts attention toward the overall layout of the street. This perspective helps the viewer understand the space of the scene while still feeling slightly detached, as if observing from just above street level. The street is not crowded, and the people are spaced out, one couple holding hands, another talking, and a few standing by themselves. The three-dimensional buildings bring out sharp lines that define the angles in the foreground, while the softer gray corner building draws attention to the elevated railway train crossing Third Street. The horizon has more buildings in the background, darker in color and cast in shadow, offset by the bright blue sky above them. The color of the sky brings the overall mood of the painting together, creating a sense of peace and happiness through its light, beautiful blue. Creator An entity primarily responsible for making the resource Nelson, Carl Gustaf (Simon), 1898 - 1988 Source A related resource from which the described resource is derived New Deal Museum Mount Morris NY Object #FA 125 https://openvalley.org/files/original/be8f6268966f60be2e7bbb2b423310f3.jpg c90c2ae125029337758e621be77b700c https://openvalley.org/files/original/92064da9f1000ba04bbf8ba5b79e4021.jpg 7a42579dbdcb3866dd0b89b9f6f37368 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 in paper Physical Dimensions The actual physical size of the original image Image: 9 x 12 in. Sheet: 11 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 Practicing Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.6 MB Description An account of the resource Inside a home, a woman plays the upright piano while her dog rests at her feet, creating an intimate and cozy scene shaped by concentration and routine. A single lamp casts a limited pool of light across the piano, leaving the rest of the room in shadow and drawing the viewer’s attention to her focused posture and the sheet music in front of her. The music she’s playing is titled Sonata 3 by Botts, giving a subtle hint toward the artist himself. The book next to her music is titled “Study, WPA 1938 NYC” by Botts, along with an agility exercise book behind it. By putting his own name on the sheet music, Botts has inserted himself into the print while also blurring the line between the woman’s artistic practice and his own. By placing his name on the music she plays, Botts suggests a connection between creating art and performing it, positioning himself as both observer and participant in this domestic moment. The composition reinforces this sense of closeness: we see her in profile from only a few feet away, as if we are standing beside her. Small details like the soft wooden texture of the piano, the patterned rug beneath the damper pedal, and the individual hairs on the dog deepen the cozy domestic atmosphere. Even the metronome mid-swing emphasizes rhythm, discipline, and the steady labor behind artistic work. Together, these elements create a scene not just of a woman practicing music, but of the intimate, concentrated world of artistic creation that Botts subtly aligns with his own identity. 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 c. 1935 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (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 1131 Type The nature or genre of the resource Still image Federal Art Project Hugh Pearce Botts lithograph New Deal Museum https://openvalley.org/files/original/a01b5fdf048971bb8a18498e900bb98d.jpg 237f85a4642b0714f42557d72e1a10a5 https://openvalley.org/files/original/499154451886df670ac99388b5442a69.jpg e3191fe506c7eef4cd68c92287ea2a76 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 Print etching Physical Dimensions The actual physical size of the original image Image: 10x 13 in Framed: 17 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 Dr. Sokoloff Conducting Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg 299 KB Creator An entity primarily responsible for making the resource Sherman, Effim H. 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 Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1509 Type The nature or genre of the resource Still image Effirm H. Sherman Etching Federal Art Project Music New Deal Museum