5 10 261 https://openvalley.org/files/original/6f048599f59059044e87e5d8d856231e.jpg 89088f561b1008eecb1d7000b7a014a9 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 Magazine cover illustration Physical Dimensions The actual physical size of the original image 8.5 x 11 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 Christening the Ship Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Macfadden Publications Date A point or period of time associated with an event in the lifecycle of the resource 1942-05-02 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Liberty 2 May 1942: cover Courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 2.4 MB Description An account of the resource A tightly framed composition focuses upon the traditional christening of a new ship, whose size can only be inferred. Unlike a peacetime ceremony, the dignitaries are military and the occasion is serious. Using a limited palette of saturated colors--red, white, and blue almost required--Ronay finds the opportunity to incorporate small details like the anchor pattern on a young woman's dress or the admiral's decorations. Despite the needs of wartime production, Ronay lightens the circumstances with some mild satire: below where a champagne bottle is about to be broken, we see a funnel to catch its precious contents. It's an acknowledgement of wartime scarcity and rationing, along with a stubbornness not to suspend familiar ceremonies. Type The nature or genre of the resource Still image Cartoon Federal Art Project Liberty Magazine Stephen Ronay World War II https://openvalley.org/files/original/f7c461efb01d8f7ca540478bcfad8736.jpg 46f4db0469968547890c5012953a86b7 https://openvalley.org/files/original/4e87cb9447179265730c1295d9d01651.jpg 5d6d1ffc5b4b920c0ba050a2938c17bb 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 13 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 Sickbed Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.7 MB Description An account of the resource We witness a body in pain through a narrowly focused, irregular aperature. The setting, it's implied, is some kind of institutional hospital or sanatorium: a thin mattress upon a spartan bedframe; garments stripped of pattern or individuality. Whoever shares this space is unclear because the background is nearly black and this patient occupies almost all of the frame. The body itself, like its surroundings, lacks individuating detail; even this person's gender is unclear. What is certain, though, is their suffering. Anchel's contour lines create mass that almost resembles topological terrain--especially around the arm and torso. His background in dance gives him special insight as to the power of posture and gesture. The person, who has become a patient, writhes in an unimaginable state, using a nearly impossible hand gesture that is highlighted as the print's focal point. 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>. Works Consulted: “Also Anchel Abstracts: Neijna Sculpture Exhibit Opening” Miami Herald 8 Nov. 1959: 121. A special thank you to David Anchel for his website <a href="https://david-anchel.format.com/homepage-gallery" target="_blank" rel="noopener">The Art of Harold Anchel</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 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1103 Type The nature or genre of the resource Still image Federal Art Project Harold Anchel Hospital lithograph New Deal Museum https://openvalley.org/files/original/60116d2063f310228b5c4a1f7649438f.jpg 86901aefabc296293bcaefa5ca2dd9f4 https://openvalley.org/files/original/6ef503275b5d2f2ecc1d35fa7483a42d.jpg 675bdabf9108d178ba63ce8eeda92e15 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 The Life Boat Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 1.4 MB https://openvalley.org/files/original/0c7e37b15f015e8553da046a470d3204.jpg 8fb605d4ab6728646cdbfd0a2548c2dc https://openvalley.org/files/original/365ce135b6bef9a1ce764b316ac8e339.jpg d4b12206adf2da7ad6dbe9be17a82418 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 painting Physical Dimensions The actual physical size of the original image 50 x 30 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 Wizard of Oz Description An account of the resource The Wizard of Oz by Ruth Harper is an oil painting that visually interprets the world created by L. Frank Baum. The composition centers on a young female figure, likely Dorothy Gale, surrounded by a wide array of characters and animals drawn from multiple Oz narratives. Among them are recognizable figures such as the Tin Woodman and Cowardly Lion, as well as more unusual presences like the Saw-Horse, Princess Ozma, Tik-Tok, and even small piglets, all arranged together in a single, imaginative scene. The painting makes strong use of gem-toned colors, particularly gold and emerald green, which visually reference key elements of the Oz setting like the Emerald City. The emerald green around the painting suggests a proscenium curtain drawing open, inviting the viewer to escape along with Dorothy. Harper’s dense gathering of characters, almost like an “all-star” cast, produces a sense of childlike wonder while also creating a dreamlike, layered environment. While the original Oz stories have often been interpreted as political allegories tied to late 19th-century economic debates and the struggles leading into the Great Depression, it remains uncertain whether Harper intentionally emphasized these meanings. Instead, her painting can be more confidently understood as embracing a surreal, imaginative quality, blending multiple narrative moments into a single fantastical vision. Through this approach, Harper’s work offers viewers a form of escapism, using familiar literary figures and rich symbolism to construct a world that contrasts with the hardships of the Depression-era context in which it was created. About the Artist What we know of Ruth Harper, as an artist, is that of a whimsical style influenced by fables and fairytales. She was born 1883 in Melbourn, Cambridgeshire, England; her family immigrated in 1889 to Ogden, NY—probably due to farming opportunities on the part of her father, James. Harper graduated in 1906 from Brockport Normal School, by which time she had married Frank Austin (continuing to use Harper for her artistic work). She spent most of her life as an art teacher in the Yonkers, NY school district. In 1936 she received a commission from the Federal Art Project painting a large mural for a kindergarten classroom, located above its fireplace in those earlier times. The mural’s composition—of Cinderella and her castle at its center, surrounded by a metaverse of fairy tale characters—anticipates her later painting The Wizard of Oz (1941). Both works stand out within the context of the Great Depression for their imaginative and uplifting qualities, offering a sense of escapism and creativity during an otherwise difficult period. More recently, The Wizard of Oz was unexpectedly discovered in Schenectady, NY, as part of an investigation by the General Services Administration. The painting’s owner reported purchasing it years earlier from a junk store for a small sum, adding an element of mystery to its provenance. This case, along with dozens of others, highlights the importance of the GSA’s Office of Inspector General for recovering <a href="https://www.gsaig.gov/wpa-artwork-gallery">New Deal art</a> that is still owned by the public. Works Consulted: “Murals by Artists of WPA to Decorate Schools, Library” (Yonkers Herald Statesman 23 Mar. 1936: 5); US General Services Administration, Office Of Inspector General, WPA Artwork Recovery--New York City Schools (File Number: 122200049, 27 June 2024) <a href="https://www.governmentattic.org/58docs/GSAoigSelInvests2021-2024.pdf">Courtesy of governmentattic.org</a> Creator An entity primarily responsible for making the resource Harper, Ruth (1883 - 1975) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1941 Contributor An entity responsible for making contributions to the resource White, Ava (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 27779 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.1 MB Type The nature or genre of the resource Still image Federal Art Project General Services Administration New Deal Museum Ruth Harper The Wizard of Oz https://openvalley.org/files/original/cc34139b4f2e79ef6d08b86e2dd52541.jpg ca65b0e2847714b3948fad49c5e9328c https://openvalley.org/files/original/515a9f0f3b555f5a7467fe84b230123c.jpg dec36e3f41232109ae36e41e7bf346fc 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 painting Physical Dimensions The actual physical size of the original image 29 1/4 x 35 3/8 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hendrik Hudson Bridge Description An account of the resource We behold an arch bridge under construction in a seemingly non-urban setting, its steel ribs elevated over gray flowing water underneath—perhaps indicating that a large boat has just passed underneath. The area surrounding the bridge contains greens that contrast the industrial aspects of the bridge itself, but we also see large buildings in the background. Color is an important element of this piece. Compared to <a href="https://en.wikipedia.org/wiki/Henry_Hudson_Bridge#/media/File:Henry_Hudson_Bridge_HH_RAS_6_19_1936.jpg" target="_blank" rel="noopener">photographic records</a> of the Hudson construction, De Felipe’s painting seems to be an parable of industrialization, shown through color contrast. The orange of the bridge and buildings versus the green of the trees in the background is juxtaposes industrial structures and natural life. The gray values at the top of Felipe’s painting indicate a moving cloud of smoke that further provides juxtaposition of the natural and industrial worlds. This disparity is also expressed through the sharp lines of the bridge that abruptly cut through the natural background. The piece provokes the viewer to consider the glaring imposition of industrialization on the natural world. The contrast between the bridge in the foreground and the natural world surrounding it indicate a misplacement of industrial life. Originally painted in the 1930s, this piece is likely a commentary on the era of industrial expansion in America. Note: In 2023, the General Services Administration’s Office of Inspector General <a href="https://www.gsaig.gov/sites/default/files/semiannual-reports/GSA-OIG-SAR-Spring-2024.pdf">recovered this painting</a> and returned it to the New Deal Museum in Mount Morris, NY. About the Artist: Juan de Felipe was born in Guanajuato, Mexico in 1904. He then travelled from Juarez to New York City in 1919, where he would remain for much of his life. During his time in New York, he was recognized in galleries and received awards. He won the Art Students’ League Fellowship from the <a href="https://brooklynrail.org/2019/04/artonic/Louis-Comfort-Tiffany-Foundation/" target="_blank" rel="noopener">Tiffany Foundation</a> in 1929, which provided living quarters and facilities for easel painters. After he received the fellowship, he took part in the annual exhibition of the Society of Independent Artists in New York City in 1930. Evidence of his presence in the New York art scene reappears in 1937 when he took part in two exhibitions: a show sponsored by the left-wing Artists’ Union at the New School for Social Research; and the Pink Slips Over Culture exhibition in 1937, which showed pieces from artists who had been fired from the Federal Art Project—many for lacking U.S. citizenship (. This reminds us that de Felipe likely encountered discrimination throughout his career, for example in 1930 a New Yorker critic calling him their “favorite Primitive” (Pemberton). By 1937, pressures for cutting the Federal Art Project became prominent, with over 600 New York artists removed from the relief program. In response, the Artists’ Union organized sit-ins to protest program cuts, including those who took part in cultural projects. Years earlier, de Felipe’s first opportunities had come through the Society of Independent Artists, which advocated for a “no judge, no prize” acceptance criteria where all art submitted to the organization was accepted no matter the artist’s experience or success. Today, virtually all of his art is lost to history. <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-5" target="_blank" rel="noopener">1 image at FAP.</a> Works Consulted: Margaret Breuning, “Group Exhibitions Feature the Week and Indicate Closing of Art Season” (New York Evening Post 11 May 1929); Digital Museum of the History of Japanese in NY, “September 1937 Exhibition of Asian Artists Excluded from the WPA” <a href="https://www.historyofjapaneseinny.org/japanese-artists-during-the-prewar-period-in-new-york-city/stories/chapter-6-american-artists-congress-and-new-york-civic-art-exhibition/visit-exhibition-1936-1940/december-1937-in-defense-of-world-democracy-an-exhibition-dedicated-to-the-people-of-spain/" target="_blank" rel="noopener">Link</a>; Jacob Kainen, “Dismissed Artists Give ‘Pink Slip’ Exhibition” (Daily Worker 24 July 1937: 7) <a href="https://archive.org/details/per_daily-worker_daily-worker_1937-07-24_14_176/page/n6/mode/1up" target="_blank" rel="noopener">Link</a>; Jerome Klein, “The Critic Takes a Glance Around the Galleries” (New York Post 3 June 1937); Henry McBridge, “Grand Central Palace Well Suited for Their Display” (The New York Sun 8 Mar. 1930); Elizabeth McCausland, “Save the Arts Projects” (The Nation, 17 Jul. 1937); Gerland M. Monroe, “Artists on the Barricades: The Militant Artists Union Treats with the New Deal" <a href="https://www.darkmatterarchives.net/wp-content/uploads/2011/11/MonroeAAAJ1978.pdf" target="_blank" rel="noopener">Link</a>; New York Art Resources Consortium, “The Avant-Garde and the Society of Independent Artists” <a href="https://gildedage2.omeka.net/exhibits/show/highlights/movements/avantgarde">Link</a>; “News and Reviews of Books,” New York Sun 28 May 1930); Murdock Pemberton, “Metropolitan Mexicans” (New Yorker 1 Nov. 1930: 47-48) <a href="https://www.newyorker.com/magazine/1930/11/01/metropolitan-mexicans-fireworks-by-miro-the-popular-and-the-also-ran">Link</a>. Creator An entity primarily responsible for making the resource De Felipe, Juan (1904-?) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1942 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (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 27875 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.6 MB Type The nature or genre of the resource Still image Artists Union Federal Art Project Hendrik Hudson Bridge Juan de Felipe New Deal Museum painting https://openvalley.org/files/original/48fd2f614ece27a8def643ca14e38169.jpg 7ab1dadda86b123327d518f2c95c4e0d 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 Magazine cover Physical Dimensions The actual physical size of the original image 8.5 x 11 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 Collier's Cover Art Description An account of the resource Three months before Japan's attack on Pearl Harbor, and direct US involvement in World War II, military mobilization was impacting many walks of American life. Here, a satirical cover juxtaposes the scale of an ice cream man--and the simpler life he symbolized--to massive tanks and planes. A pair of eyes peeping out from the tank suggest that the soldier prefers those peaceful times, as well. Stephen R. Ronay was a painter supported by the Federal Art Project during the 1930s, but he was equally adept at gently satirical cartoons like this and another one for the magazine eight months later. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Crowell-Collier Publishing Date A point or period of time associated with an event in the lifecycle of the resource 1941-08-30 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Collier's 108.9 (30 Aug. 1941): cover <a href="https://archive.org/details/colliers108julspri/page/n496/mode/1up" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 928 KB Type The nature or genre of the resource Still image Cartoon Collier's Federal Art Project Stephen Ronay World War II https://openvalley.org/files/original/7751f1312d6d5ef3a8c29afa4e9110e6.jpg 1803aaa93412a3ecd30421e259b15f1f 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 Magazine cover Physical Dimensions The actual physical size of the original image 8.5 x 11 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 Fish Story Description An account of the resource While the title of this humorous cover art for Liberty magazine is unknown, its editors thought it was appropriate for the backstory to Stephen Ronay's art. "Yes, it happened!" they write; "It simply proves that the war reaches into all walks of life--including the wet and slithery upstream walk of the hitherto sovereign American fisherman" (54).  Noting that the incident occurred near Fort Pine, NY (modern-day Fort Drum), they briefly profile Ronay as a Hungarian immigrant who "made himself into one of America’s foremost landscape painters, the kind that holds one-man exhibitions in famous art galleries." His satirical and humorous cartoons allowed him to "let off steam"--as did fishing and saber-fencing. A comparison to the intense drama of Ronay's The Life Boat, painted for the Federal Arts Project, suggests that his artistic work spanned a wide range of styles and moods. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Macfadden Publications Date A point or period of time associated with an event in the lifecycle of the resource 1942-04-04 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Liberty 19.14 (4 April 1942): cover <a href="https://archive.org/details/LibertyV19N1419420404/mode/1up" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 911 KB Type The nature or genre of the resource Still image Cartoon Federal Arts Project Liberty Magazine Stephen Ronay World War II https://openvalley.org/files/original/05b061aa9e6a60ee712e5e1ff65893af.jpg 138006d6714d4c1c2a33c1bc3c5d8751 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting on canvas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tri-boro Bridge Creator An entity primarily responsible for making the resource Alshets, Simon (1908 - ?) 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 Source A related resource from which the described resource is derived Smithsonian Museum, Archives of American Art Federal Art Project, Photographic Division Collection <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-20" target="_blank" rel="noopener">Box 1, Folder 20</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Type The nature or genre of the resource Still image Astoria Park Federal Art Project New Deal Gallery painting Simon Alshets Triboro Bridge https://openvalley.org/files/original/3a2291452ac60751bc8934c277d62b74.jpg 7fc19f573cf06f7fa9c4702c7a5d0daf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of oil on canvas painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Winter Scene Description An account of the resource A city park in winter appears endless from this low-level, child's point of view. Clusters of excited young people converge upon a sledding hill in the distance, the patterns of their tracks leading us to the destination. Most of Alshets' painting is dedicated to snow in the foreground or a beautifully patterned sky overhead; a sinuous ribbon of trees and buildings are the only reminders of its urban setting. Perhaps due to the idyllic subject matter, this work was allocated to the Homer Folks Tuberculosis Hospital in Oneonta, NY. Its current status is unknown, although likely stored with the US General Services Administration (GSA). Note: this picture was taken by an unnamed photographer of the FAP's Photo Division and, so far as we know, is the only publicly available image of Alshets' painting. The original photograph has been cropped and lightly edited for clarity. About the Artist: Creator An entity primarily responsible for making the resource Alshets, Simon (1908 - ?) 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 1936-1941 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 599 KB Source A related resource from which the described resource is derived Smithsonian Museum, Archives of American Art Federal Art Project, Photographic Division Collection <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-20" target="_blank" rel="noopener">Box 1, Folder 20</a> Type The nature or genre of the resource Still image Federal Art Project New Deal Gallery Simon Alshets https://openvalley.org/files/original/74f87b00b78535aee6b8ed0d0d5377f4.jpg 1c218ef83caa91740381bd03c49cb8f5 https://openvalley.org/files/original/c695d0c7d9a1e493c971bc1d3cc38aba.jpg 52179c902aa12d543d99449069be77ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of oil on board painting Physical Dimensions The actual physical size of the original image 9 x 4 ft. 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 Cinderella Mural Description An account of the resource At the center of this mural is Cinderella and her horse-drawn carriage, a fanciful castle in the background. Also appearing are well-known characters from other fairy tales: at left, Little Bo Peep, Miss Muffet, and Little Boy Blue; at right, Jack & Jill, Red Riding Hood & the Wolf, and perhaps Peter Rabbit. There is a balance between characters holding poses and those in the midst of physical actions--both presumably of interest to young children. According to a story in the Yonkers Herald Statesman (23 Mar. 1936: 5), it was one of four Federal Art Project murals created for the community: one in the public library, and three in local schools. Harper's, measuring nine feet long, was placed over a fireplace in the kindergarten classroom of School #21. The mural's current status is unknown, but it's an intriguing companion to Harper's 1941 painting: there is a similar queen and castle, along with a riotous train of vivid characters. Ruth Harper was a longtime art teacher in the Yonkers school district, also known by her married name Ruth Austin. Creator An entity primarily responsible for making the resource Harper, Ruth 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 Source A related resource from which the described resource is derived <a href="https://westchesterhistory.com/about/" target="_blank" rel="noopener">Photos Courtesy of Westchester Historical Society</a> Contributor An entity responsible for making contributions to the resource White, Ava Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB jpeg, 1.5 MB jpeg, 1.3 MB Type The nature or genre of the resource Still image Children's Book Fairy Tale Federal Art Project Mural New Deal Ruth Harper