4 10 295 https://openvalley.org/files/original/c141f124dcf186c3aa22610b64f0595a.jpg 2d1224f8e0325c2f9149c780e7d36107 https://openvalley.org/files/original/411d4524b1be092624f13a309898059e.jpg 591c42fb9959c0b8b254a7402f1432fc 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 etching on paper Physical Dimensions The actual physical size of the original image Image: 12 1/4 x 9 1/2" in. Framed: 20 5/8 x 17 7/8 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steel Workers Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 543 KB Description An account of the resource Eight men are captured at a moment both dangerous and routine, part of the steelworker's 12-hour day. Botts is likely depicting what was called an open-hearth furnace, used by Andrew Carnegie to dramatically speed up the process and undercut his rivals on price. It was also extremely hazardous to workers. As one said in 1893, "They wipe a man out here every little while." Workers were paid wages barely above poverty; efforts at unionization were met with violence. Despite this and other horrors--for example, the constant noise--Botts emphasizes the mens' capability and coordination. Heroism, even: their actions are dramatically backlit from the fires, and they wear minimal safety equipment. That massive burst at the print's center is barely balanced by the plant's equipment and steelworkers. Labor was building the nation, not wealthy industrialists. About the Artist Hugh Pearce Botts, born in 1903 in Cranford, NJ, grew to become an artist skilled in a variety of mediums, including etching, wood engraving, lithography, and drypoint. Though he attended Rutgers University, he did not stay to complete his program, choosing instead to relocate to New York City to study at the Arts Students League. Botts received additional creative training at the National Academy of Design School from 1924 to 1928 and New York’s Beaux Arts Institute of Design. In 1928, Botts was awarded a residency at the Yaddo artists colony, Saratoga Springs. Afterwards, he returned to New York City to work out of a private studio, where he also taught art classes to students and penned articles for well-known publications such as Popular Mechanics. He was employed by the WPA from 1935 to 1943, during which time he produced a multitude of prints and paintings. Botts’ work was exhibited in the Smithsonian Institution in the Division of Graphic Arts of the U.S. National Museums, with 45 of his prints entering the Library of Congress from the exhibit. Botts passed away at age 64 in the care of a nursing home in New Jersey in 1964. In memory of his creative achievements, the Salmagundi Club in New York--in which Botts was a member--offers a yearly prize named for the artist. 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 <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-15" target="_blank" rel="noopener">FAP</a>. 6 images at <a href="https://art.gsa.gov/people/949/hugh-pearce-botts/objects" target="_blank" rel="noopener">GSA</a>. 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 1943 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) Casey, Meaghan (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1054 Aquatint Factories Federal Art Project Hugh Pearce Botts industrialization New Deal Museum Works Progress Administration https://openvalley.org/files/original/68405a5e7d84d5d59604fcc8d06d0de7.jpg ab7fe3e8630ffef12668756732f6f399 https://openvalley.org/files/original/142c4a2cb3769b43d3b562a6fa85cb83.jpg 88a1e4392abf09aebec19a35a8fcf3cf 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 etching on paper Physical Dimensions The actual physical size of the original image Image: 9 1/4 x 12 1/2 in. Framed: 15 x 18 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 Saturday Night Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg, 652 KB Description An account of the resource Bott’s print employs a detailed, black-and-white illustrative style in its portrayal of a middle-aged woman bathing her dog in a large tub. Shades of gray and black linework are used to give dimension and definition to the objects and figures in the piece, and the various textures of the water on the floor and in the tub, the fluffy bathroom towels, and the tile floor add a significant amount of life and movement to the small space depicted in the print. The piece’s title, Saturday Night, amusingly suggests that this is about as exciting as life gets for its middle-aged female subject (and her canine companion); whether this is a positive or negative thing depends on the individual viewer's perspective. Either way, the warmth exuded by the image's detail also inspires comfort and fondness in the viewer, with the domestic familiarity displayed in the print fostering amiable interest rather than dull banality. Though it’s certainly a work of social realism, the peaceful caregiving on display in the image offers viewers a romantic view of the day-to-day activities of the average American household. About the Artist Hugh Pearce Botts, born in 1903 in Cranford, NJ, grew to become an artist skilled in a variety of mediums, including etching, wood engraving, lithography, and drypoint. Though he attended Rutgers University, he did not stay to complete his program, choosing instead to relocate to New York City to study at the Arts Students League. Botts received additional creative training at the National Academy of Design School from 1924 to 1928 and New York’s Beaux Arts Institute of Design. In 1928, Botts was awarded a residency at the Yaddo artists colony, Saratoga Springs. Afterwards, he returned to New York City to work out of a private studio, where he also taught art classes to students and penned articles for well-known publications such as Popular Mechanics. He was employed by the WPA from 1935 to 1943, during which time he produced a multitude of prints and paintings. Botts’ work was exhibited in the Smithsonian Institution in the Division of Graphic Arts of the U.S. National Museums, with 45 of his prints entering the Library of Congress from the exhibit. Botts passed away at age 64 in the care of a nursing home in New Jersey in 1964. In memory of his creative achievements, the Salmagundi Club in New York--in which Botts was a member--offers a yearly prize named for the artist. 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 <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-15" target="_blank" rel="noopener">FAP</a>. 6 images at <a href="https://art.gsa.gov/people/949/hugh-pearce-botts/objects" target="_blank" rel="noopener">GSA</a>. 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 Casey, Meaghan (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 1133 Type The nature or genre of the resource Still image Domestic Economy Federal Art Project Great Depression Hugh Pearce Botts lithograph New Deal Gallery https://openvalley.org/files/original/cfab7509ac359020ccf4dd84e6a8aeef.jpg f6243c0d8e6f04411a7a3851d844375f https://openvalley.org/files/original/7705a7745123cb7da8504634db70c85e.jpg 1110f16b3c0d193c0a230f523fa8f766 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tree Surgeons Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.1 MB Creator An entity primarily responsible for making the resource Warsager, Hyman J. (1909 - 1974) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1540 Description An account of the resource 14 images at <a href="https://art.gsa.gov/people/2638/hyman-j-warsager/objects" target="_blank" rel="noopener">GSA</a>. https://openvalley.org/files/original/6ce02ccc1cc726f075ca46653e86e362.jpg a494e7429d5dc40e8df4badcede9359b https://openvalley.org/files/original/ab98b7edfa28999f63f7ecd9d2cb0cbc.jpg f48981547f98c9337761ad05bb526f30 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 1/2 x 11 1/2 in. Sheet: 23 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, 2.2 MB jpeg, 1.8 MB Description An account of the resource 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>. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</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 c. 1935 Contributor An entity responsible for making contributions to the resource Cooper, Ken (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 1493 Title A name given to the resource Sheep Shearing Bernard P. Schardt Farm Life Federal Art Project lithograph New Deal Museum Pastoral https://openvalley.org/files/original/2a8801779b210c175cbf0603186a1877.jpg 67c2997e324e61ff1948c5b6fb817585 https://openvalley.org/files/original/f748f3b8428809eca81787d3b882ba4b.jpg 3d0fb88b05173860c26954ba2f8dfa2c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 5 1/8 x 11 in. Framed: 17 1/4 x 21 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Theatre Street Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 791 KB Creator An entity primarily responsible for making the resource Richter, Lillian (1915 - 2000) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1462 Type The nature or genre of the resource Still image Description An account of the resource 5 images at <a href="https://art.gsa.gov/people/1958/lillian-richter/objects" target="_blank" rel="noopener">GSA</a>. Federal Art Project Lillian Richter lithograph New Deal Museum Theater https://openvalley.org/files/original/c974529cd0b4862fab670187d4999f17.jpg c84f3670a46ca5ec0a8486c42cd9bad7 https://openvalley.org/files/original/cc32374308206d8cacfd105539e9fafb.jpg 1a801b57eaf1a5715883ec2131e2db54 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image 10 x 10 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Seamstress Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 752 KB Description An account of the resource About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/824/harold-anchel/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Pasiak, Olivia (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1104 Type The nature or genre of the resource Still image Fashion Federal Art Project Harold Anchel lithograph New Deal Museum Sewing Room https://openvalley.org/files/original/7350b33246dc842b699578771178bc57.jpg 0045800d7fbdd13797ce914460f51063 https://openvalley.org/files/original/45d408b329c153040623eef1f8a88bd5.jpg 3e4c4871f8808f0d73735b73760cc06e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image 8 1/2 x 12 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bridge Worker No. 2 Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB jpeg, 1.5 MB Creator An entity primarily responsible for making the resource Murphy, Arthur G. (1906 - 1991) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Cooper, Ken (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 1350 Type The nature or genre of the resource Still image Description An account of the resource This lithograph is one of several prints in Murphy’s “Bridge Worker” series in 1935, which was followed by a “Steel Riggers” series in 1936. The subject matter of both is construction of the Golden Gate Bridge whose active phase began in 1933 and was completed in 1938—one of the New Deal’s most famous infrastructure projects (see a collection of historical photos <a href="https://calisphere.org/collections/8624/" target="_blank" rel="noopener">here</a>). Virtually all of Murphy’s prints link the physical strength of men to their collective, nearly heroic, accomplishments; in this, the artist was like many others in mythicizing modern industry. In Bridge Worker No. 2, a massive steel rigger is braced against some footing beyond the frame. He may be pulling cable or using it to hold himself on the bridge; regardless Murphy's composition is monumental and the de-differentiated face borrows from that sculptural aesthetics.  About the Artist  Arthur Murphy was born in Tiffin, OH, later crediting aimless walks through its woodlands for teaching him how to see as an artist (Robinson). After graduation he moved to Cleveland and began work in the art department of the Central Press Association, meanwhile taking classes at the Cleveland School of Art. In 1927 Murphy relocated to New York, continuing his studies at the Art Students League with <a href="https://en.wikipedia.org/wiki/Boardman_Robinson">Boardman Robinson</a>. In 1930 Murphy took “one hell of a gamble” and left his illustrator job at the Associated Press—this during the Great Depression—to become a painter (Burkholder). He traveled West with virtually no money, riding trains with other hoboes and sketching scenery. Eventually, he settled in San Francisco, met the influential Mexican muralist Diego Rivera, and became a well-regarded painter, printmaker, and muralist. Murphy’s unconventional life path and choices of subject matter led a reviewer to remark in 1933:  “His story interests because it reveals how an artist grows up in America today, what it feels like to be an artist and what hardships may be cheerfully endured by one who feels the need to create” (Millier). All of Murphy’s work for the FAP dates to this period, nearly a hundred individual prints: series of lithographs showing steel riggers at work building the new Golden Gate Bridge; Ballet Russe dancers traveling through the city; rurally themed prints of cowboys, horses, and rodeos. “I can’t stand total realism,” he claimed, but as later critics suggested it was more a matter of matching at times wildly different styles to his wide-ranging subject matter (Cotter). After several exhibitions under the auspices of the FAP, in 1941 the San Francisco Museum of Art staged a solo show of Murphys’s considerable output. He was drafted into the Army, in 1943, as a combat artist in the Pacific. Murphy was an eyewitness to the <a href="https://en.wikipedia.org/wiki/Battle_of_Leyte_Gulf">Battle of Leyte Gulf</a> (1944), the largest naval battle of WWII, and on land recorded war atrocities through his drawings. Years later, he still was drawing those scenes from memory. Murphy returned to the US married to an Australian partner, settled in Old Saybroook, CT, and continued with his painting supplemented by income as an art teacher. During the mid-1960s, he was instrumental in forming the Old Saybrook Artists Association, supporting others until his death in 1991. 33 works at <a href="https://www.philamuseum.org/collection?artist=Arthur%20Murphy">Philadelphia Museum of Art</a>. 25 works at <a href="https://www.moma.org/artists/45861-arthur-murphy">MoMA</a>. 25 works at <a href="https://dia.org/search/collection?keys=arthur%20murphy">Detroit Institute of Arts</a>. 10 works at <a href="https://www.nga.gov/artists/33826-arthur-george-murphy">National Gallery of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/arthur-murphy-3464">Smithsonian American Art Museum</a>. 1 work at <a href="https://whitney.org/artists/4067">Whitney Museum of American Art</a>. 119 images at <a href="https://art.gsa.gov/people/1862/arthur-g-murphy/objects/images?page=1" target="_blank" rel="noopener">GSA</a>. Works Consulted: Arthur Millier, “Comfort and Security Mean Nothing to Creative Artist,” Los Angeles Times 10 Sep. 1933: 26; Kenton Robinson, “He Began To Draw, Then To See,” Hartford Courant 27 Dec. 1981: 23+; Steve Burkholder, “At 80, Artist Finds New Challenges in Early Subjects,” Hartford Courant 24 Jan. 1986: 56; Holland Cotter, “A Wanderer With an Eye For Textures of His Time,” New York Times 10 Sep 1993: 73 <a href="https://www.nytimes.com/1993/09/10/arts/review-art-a-wanderer-with-an-eye-for-textures-of-his-time.html">Link</a>. Arthur G. Murphy Federal Art Project industrialization Labor lithograph New Deal Museum https://openvalley.org/files/original/fee61b7ad3f05675150110fe15af5a0a.jpg 54d22a9eaa866246fb49dc2167d47fde https://openvalley.org/files/original/a2dedfda7a08ad82033624c196a9d673.jpg 0fae9da7ed47149d75685a1a60b2cf35 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Aquatint on paper Physical Dimensions The actual physical size of the original image Print: 6 1/4 x 8 1/2 in. Framed: 15 1/4 x 18 1/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Bargain Description An account of the resource About the Artist Born in New York City in 1903, Hugh Pearce Botts was an accomplished American artist. He studied at Plainfield High School in New Jersey and Rutgers University and later received his formal art training at the National Academy of Design. His teachers included Roy Hilton, Charles Curran, Charles W. Hawthorne, Ivan G. Olinsky, and William Auerbach-Levy, whose diverse approaches, from impressionism to portraiture to caricature, shaped Bott’s development as a painter and printmaker. Botts went on to work with various institutions, including the Carnegie Institution, Queens College, Princeton University, Pennsylvania State University, Syracuse University, and the American Museum of Natural History. His professional work ranged from landscapes, cityscapes, and industrial architecture to portraits of working-class subjects. He also created prints that depicted scenes of home life, often using cartoon-like facial features to express emotion and concentration. This expressive quality is especially visible in his <a href="https://nationalacademy.emuseum.com/people/1149/hugh-pearce-botts" target="_blank" rel="noopener">self-portrait</a>, painted in oil on canvas. 94 works and sketches at <a href="https://magart.rochester.edu/artist-maker/info/42?sort=3" target="_blank" rel="noopener">Memorial Art Gallery</a>. 18 works at <a href="https://collections.newarkmuseumart.org/search/Botts" target="_blank" rel="noopener">Newark Museum of Art</a>. 3 works at <a href="https://onlinecollections.syr.edu/advancedsearch/Objects/people%3Abotts" target="_blank" rel="noopener">Syracuse University Art Museum</a>. 2 works at <a href="https://americanart.si.edu/artist/carl-gustaf-nelson-3511" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 8 images at FAP. 6 images at <a href="https://art.gsa.gov/people/949/hugh-pearce-botts/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Botts, Hugh Pearce (1903 - 1964) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg 708 KB Type The nature or genre of the resource Still image Aquatint Federal Art Project Great Depression Hugh Pearce Botts New Deal Museum https://openvalley.org/files/original/8d4579a0f2d6544101b56b1bc748bffe.jpg a84dbfb5d80ca17b6d9770e4d3135661 https://openvalley.org/files/original/069288c8b5ebb1528a831bb155329d40.jpg 02abfa807cba7a8041c6182d852604a0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Etching on paper Physical Dimensions The actual physical size of the original image Image: 10 x 8 in.  Frame: 18 x 15 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Hunter Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 961 KB Creator An entity primarily responsible for making the resource Skolfield, Raymond White (1909 - 1996) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1512 Type The nature or genre of the resource Still image Description An account of the resource 16 images at <a href="https://art.gsa.gov/people/2467/raymond-white-skolfield/objects" target="_blank" rel="noopener">GSA</a>. Etching Federal Art Project Hunter New Deal Museum Raymond White Skolfield https://openvalley.org/files/original/df165a03bddff6c2af91a0b098723308.jpg 115d78beaf1ca0a380011ca398eb0d5c https://openvalley.org/files/original/bb9fd824ceec74d543d77dbd0e9638b1.jpg 66657e4a9057e1ca033150e3c61114e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Print: 10 1/2 x 14 x 10 1/2 in. Framed: 17 1/4 x 21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Headed South Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 773 KB Description An account of the resource About the Artist Born Mabel Jacque Williamson in Cincinnati, OH, Dwight was one of the more controversial and prolific lithographers of her time. She studied painting at the Hopkins School of Art in San Francisco, CA in her twenties, travelling to Paris, Egypt, India, and other destinations after her studies. She married Eugene Higgins in 1906 before divorcing in 1921, when she changed her last name to Dwight (for reasons unknown). Even before making art full time, she had become a champion of socialist art and ideals, inspired by her time in college. “I was born with a hatred for the duality of poverty and riches,” she recalled. In 1926, at the age of fifty, Dwight began making her first lithographs and by 1928 her work was displayed at the Weyhe Gallery in New York City. Dwight’s main subjects were the ordinary residents of New York City, depicting their lives during 1920s opulence and then the Great Depression. Dwight’s lithographs offered an unflinching, documentary view that was suffused with social commentary. As she later explained, “There are always artists who cannot be satisfied with the credo of art for art’s sake. They must tell stories, express opinions, and ‘take sides’” (“Satire in Art” 151). Dwight observed, however, that the great satirists like William Hogarth rarely made use of “arbitrary distortion,” and her lithographs usually had realistic and inclusive features—such as rounded forms and subtle lighting—that create unity among its subjects. Dwight brought complex social issues to an accessible medium with subtlety and artistic integrity. Dwight was employed by the Federal Art Project (1935-1939) and was a member of the American Artists’ Congress, which championed socialist policies and promoted artists’ rights. By the end of her career in 1941, she had created more than a hundred lithographs collected at a variety of museums and universities. 27 works at <a href="https://whitney.org/artists/388" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 19 works at <a href="https://www.metmuseum.org/art/collection/search?q=%22mabel+dwight%22&offset=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 20 works at <a href="https://americanart.si.edu/search/artworks?content_type=artwork&persons%5b%5d=2611" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 23 works at <a href="https://www.cartermuseum.org/artists/mabel-dwight" target="_blank" rel="noopener">Amon Carter Museum</a>. 20 works at <a href="https://www.nga.gov/artists/6498-mabel-dwight/artworks" target="_blank" rel="noopener">National Gallery of Art</a>. 10 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-37" target="_blank" rel="noopener">FAP</a>. 34 images at <a href="https://art.gsa.gov/people/47/mabel-dwight/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted:Mabel Dwight, “Satire in Art," in Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project, ed. Francis V. O'Connor (1973) <a href="https://archive.org/details/artformillionses00ocon/page/151/mode/1up" target="_blank" rel="noopener">Link</a>; David Herman. “Mabel Dwight: Art as a Living Influence on the World,” Greenwich Village Society for Historic Preservation (2026) <a href="https://www.villagepreservation.org/2026/03/18/mabel-dwight-art-as-a-living-influence-on-the-world/" target="_blank" rel="noopener">Link</a>; Library of Congress, Life of the People: Realist Prints and Drawings from the Ben and Beatrice Goldstein collection, 1912-1948 (1999) <a href="https://archive.org/details/lifeofpeoplereal0000unse/mode/2up?q=%22mabel+dwight%22" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Dwight, Mabel (1876-1955) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1211 Type The nature or genre of the resource Still image Federal Art Project lithograph Mabel Dwight Marine Art New Deal Museum