5 10 295 https://openvalley.org/files/original/d2b6aaf98c5a70ac05cbd314d877f1c0.jpg 0bb760b30e84a84967144b94cf3eb2dc https://openvalley.org/files/original/11993ca57faa41c1b072cb3ac4e9512d.jpg 919f78b660f792312848cf47fbd706c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Aquatint and color etching Physical Dimensions The actual physical size of the original image Image: 11 7/8 x 14 7/8 in. Sheet: 14 1/8 x 17 7/16 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blue Clown Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.2 MB Description An account of the resource In Blue Clown, Peck presents a hauntingly stylized figure portrayed almost entirely in deep blue-teal tones, creating a dreamlike yet unsettling atmosphere. Its blue tonal effects are created through the aquatint process, a technique that uses “acid to eat into the printing plate creating sunken areas which hold the ink” (Tate). The clown’s face dominates Peck’s composition, built from geometric contours that curve around exaggerated features: wide circular eyes, a bulbous nose, and sharply angled eyebrow arches and party hat that cut across the upper portion of the image like a dark blade. Fine etched lines and layered textures give the surface a grainy, atmospheric depth while speckled highlights scattered across the background evoke a starry, suspended void. The palette’s limited range intensifies the emotional focus, turning the clown from a symbol of entertainment into a solitary and introspective figure. Within the context of its time, the lithograph can be read as reflecting the psychological isolation felt by many artists during the Great Depression: creative individuals supported by federal programs yet still grappling with uncertainty and alienation. Peck’s distorted proportions and shadowed tonalities subtly transform the clown into a metaphor for the artist himself: a performer expected to produce cultural vitality while privately confronting the quiet anxieties of life in Depression-era America. About the Artist Augustus Hamilton Peck, affectionately known as “Gus” to those who worked with him, was born in 1906 in Frederick, Maryland, but spent most of his life growing up in and working in New York City (NYC). He was a painter, an etcher, a cartoonist, an illustrator, and an educator. Most notably, he was a well-known artist working for the Works Progress Administration (WPA) Federal Art Project, during which he was known to create works focusing on the figure of the clown. In the late 1930s, WPA Federal Art Program exhibits began popping up across the country to show works of these artists, often encapsulating the theme of Contemporary New York where Mr. Peck’s pieces were featured. Beyond his time working for the WPA, Peck taught art classes to students from working class families in NYC, and later was an illustrator for Fawcett Publications in Connecticut. His passion for the arts was evident when, in 1940, he <a href="https://archive.org/details/sim_newsweek-us_1941-10-20_18_16/page/69/mode/1up?q=%22augustus+peck%22#:~:text=York.%20%241.50.)-,Genius%20in%20the%20Bud,-Nearly%20all%20children">selected 75 students from Manhattan’s public and private schools</a> to instruct for free during Saturday art classes, in a studio that he borrowed. His friends helped raise $4,000 to fund the project for the students, which was, as Peck called it, “a chance to express their better instincts instead” [of learning how to hate]. Considering himself more of an “editor” than an instructor, Peck helped curate the students’ artwork, who ranged from <a href="https://books.google.com/books?id=q0wEAAAAMBAJ&pg=PA78&dq=%22augustus+peck%22&hl=en&sa=X&ved=2ahUKEwjRuv-L3tGTAxWJKzQIHUbDJu8Q6AF6BAgJEAM#v=onepage&q=%22augustus%20peck%22&f=false">10 to 15 years old and represented 24 nations</a>, to be exhibited on the walls of the Whitney Museum of American Art in New York. Many of Peck’s own works are now found in museums across the country. One of his best-known prints, from 1938, is <a href="https://www.philamuseum.org/objects/74736">Blue Clown</a>; one amongst dozens of artworks that portray recurring subjects of the clown, human figures, and the circus: <a href="https://www.brooklynmuseum.org/objects/48397">Head of a Clown (Clown with Red Nose)</a> 1938; <a href="https://www.brooklynmuseum.org/objects/48395">Clown as a Fireman</a> 1937; <a href="https://www.clevelandart.org/art/1934.73">Circus Boy</a> 1920-34; and <a href="https://www.clevelandart.org/art/1930.164">Circus, No. 1</a> 1920-30. 20 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Augustus+Peck">Brooklyn Museum</a>. 14 works at <a href="https://www.clevelandart.org/art/collection/search?artists=Augustus%20Peck">Cleveland Museum of Art</a>. 7 works at <a href="https://www.philamuseum.org/collection?artist=Augustus%20Peck">Philadelphia Museum of Art</a>. 13 images at <a href="https://art.gsa.gov/people/2171/augustus-hamilton-peck/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Peck, Augustus (1906 - 1975) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1942 Contributor An entity responsible for making contributions to the resource Wyatt-Saylor, Savannah (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 25607 Type The nature or genre of the resource Still image Aquatint Augustus Peck Clown Federal Art Project New Deal Museum https://openvalley.org/files/original/b2897eca2da1e1871bf7778005eead10.png 444f2a64dfedae5a162b85db39c14b68 https://openvalley.org/files/original/3b33b36191d51ce6bb1b51edbf07b410.png 53ef556dc5baf48141c210fbd88416ae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Etching Physical Dimensions The actual physical size of the original image 9 x 4 3/8 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Dance Creator An entity primarily responsible for making the resource Sternberg, Harry (1904 - 2001) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 - 1942 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 27693 Format The file format, physical medium, or dimensions of the resource png, 2.8 MB jpeg, 301 KB Description An account of the resource Three human figures soar against an idealized representation of cosmological objects: stars, comets, nebulae. The contrast between the void of space and luminous objects is extreme.  Muscular bodies and the etching's visual style owe something to the visionary works of 19th-century poet / printmaker William Blake, especially a sensibility representing human spirit instead of a narrow fidelity to realism, the latter famously described as a product of "mind-forg'd manacles." What appear to be stars in Sternberg's print have a similarity to Blake's mythology of a patriarchal god--sometimes named Urizen, punning on "your reason"--whose presence is <a href="https://en.wikipedia.org/wiki/William_Blake#/media/File:Europe_a_Prophecy,_copy_D,_object_1_(Bentley_1,_Erdman_i,_Keynes_i)_British_Museum.jpg" target="_blank" rel="noopener">a circular disc blocking the source of divine light</a> that everyone possesses. The measuremnts of science and materialism of capital shrank human potential. Sternberg repeatedly was drawn to flying bodies in his work: <a href="https://www.philamuseum.org/objects/67967" target="_blank" rel="noopener">acrobats</a>, <a href="https://www.philamuseum.org/objects/68032" target="_blank" rel="noopener">aeronautical guides</a>, and even <a href="https://www.philamuseum.org/objects/68019" target="_blank" rel="noopener">spirits</a> of musical instruments. Works like The Dance can be juxtaposed to his explicitly political works and their outrage over extracting labor from human bodies--often set in <a href="https://www.philamuseum.org/objects/68058" target="_blank" rel="noopener">factories</a> or <a href="https://www.philamuseum.org/objects/68063" target="_blank" rel="noopener">underground mines</a>. 6 images at <a href="https://art.gsa.gov/people/129/harry-sternberg/objects" target="_blank" rel="noopener">GSA</a>.  Federal Art Project Harry Sternberg lithograph New Deal Museum https://openvalley.org/files/original/3edb4d3ebd6f815da97cb6e1c009afa7.jpg f29a4565df986a0422d2bec15f69a83c https://openvalley.org/files/original/9a3b35aee1773afc2bc889dbc5c6e4ce.jpg a1a7a50755c0fecb1494cf728c88fabd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 10 1/2 x 17 in. Sheet: 14 1/2 x 23 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tempest Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 1.2 MB Creator An entity primarily responsible for making the resource Moir, Robert (1917 - 1981) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1941 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) Copolla, Victoria (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1323 Type The nature or genre of the resource Still image Description An account of the resource In Moir's murky, expressionist print, the inner state of its subject at center has overwhelmed the world around him. Or perhaps it's simply understandable how, given the dark and claustrophobic setting, a person's psychic state would be tempestuous. This permeable condition is created by a blurring between the edges of objects and their surroundings; figure and ground are very indistinct, as with a woman standing at left. Given her pose, and the man's seated position, it's possible that we're in a subway car or public bus--a claustrophobic proximity with strangers. Viewers see the simmering anger on the man's face, but perhaps no one else does. About the Artist Robert Moir was born on 7 Jan. 1917 in Chicago, Illinois. He was a sculptor and lithographer, formally trained at the Art Institute of Chicago, Columbia University, New York University and the Art Students League of New York. Moir worked in the FAP’s Graphic Art Division, where he developed an emotive, expressionist style inflected with abstraction. As a New York Times reviewer wrote of a solo sculpture show, its first impression was “one of energy contained with difficulty within the writing forms. Figure themes are presented in a semi-abstract manner, but their inspiration is emotional rather than purely formal” (Preston). A similar claim might be made of his earlier prints. Moir’s career came to a halt during the 1940s when he was drafted for WWII, then resumed with gallery shows in New York during the 1950s. His sculptures were featured at successive Whitney Bienniels between 1951-56, including <a href="https://archive.org/details/1951annualwhit/page/n6/mode/1up" target="_blank" rel="noopener">Cumulus</a> (1951), The Expanding Universe II (1953), and Desire (1956). His sculpture Mother and Child (1950) is held at the <a href="https://whitney.org/artists/903" target="_blank" rel="noopener">Whitney Museum of American Art</a>. He died on 11 Feb 1981. 14 graphic works at <a href="https://www.artic.edu/collection?artist_ids=Robert%20Moir" target="_blank" rel="noopener">Art Institute of Chicago</a>. <a href="https://www.philamuseum.org/collection?artist=Robert%20B.%20Moir" target="_blank" rel="noopener">6 works at Philadelphia Museum of Art</a>. 3 works at <a href="https://americanart.si.edu/artist/robert-moir-3373" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 7 images at <a href="https://art.gsa.gov/people/2083/robert-moir/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Stuart Preston, “Sculpture Shown in Galleries Here, New York Times 9 Nov. 1951: 25 <a href="https://timesmachine.nytimes.com/timesmachine/1951/11/09/81777612.html?pageNumber=25" target="_blank" rel="noopener">Link</a>. Federal Art Project lithograph New Deal Museum Robert Moir https://openvalley.org/files/original/03e50e9ca860be695133690c293fc964.jpg e814de177abecdf6e36799a5f3f9485e https://openvalley.org/files/original/3e4f027dc49154c3f28793dbdeb3d5ca.jpg dd6eefeb975d121dc6aa54d7d02b7fa7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 9 7/8 x 12 in. Sheet: 11 1/2 x 16 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource jpeg, 2.7 MB jpeg, 2 MB Title A name given to the resource Backyard Description An account of the resource We look out from an elevated view towards a small lawn, enclosed between several city apartment buildings of varying sizes. An added layer of fence and trees can be seen between the apartments and lawn as well. The straight lines of the buildings contrast heavily to the curved and organic shapes of the trees and lawn. This gives a sense of uniformity to the man-made elements compared to a fluidity in the natural ones. The apartments take up a large portion of the print with their rigid verticality, that extends out of frame, leaving no clear skies visible. The view feels extremely small and communal, something that may not be thought of alongside the idea of a backyard in America. Compare Backyard to Faye's similar print, <a href="https://www.nga.gov/artworks/146231-old-apartment-house" target="_blank" rel="noopener">Old Apartment House</a>, showing neglected neighborhoods surrounded by industrial zones. Both give a notion of how valued privacy can be amidst the density of urban structures. The actual yard of the print is very small compared to other elements and is heavily obstructed by trees and buildings. One lone person can be seen on the bottom of the print. With no discernable features about the person, they are simply a neighbor to the viewer. The perspective gives a sense that you are meant to be looking out of your own apartment window: what you see as your "backyard" really is the lives of all the other people surrounding you. About the Artist Harold K. Faye was born in La Grange, Illinois. Faye pursued formal training at the AIC, Art Institute of Chicago. He made his way to New York City in his early 20s and enrolled in the National Academy of Design like many others of the time. Faye specialized in graphic prints, or lithographs, throughout his entire career. His works primarily depicted New York’s working-class locations and experiences, choosing not to idealize city life. Often favored industrial locations, like factories and locomotives, and densely constructed areas. He often featured smokestacks and dark-colored skies in his works. This was possibly drawing on social themes of urban density and pollution-stricken living. Working-class Americans were not privileged with affording nice living spaces. Faye was never a particularly famous artist but was featured in several FAP and AIC exhibits throughout the late 1930s for his lithographic work. Later in life, Faye pursued a career in cartography, moving on from city lithographs to map-making. Faye began exploring industrial design, and used his background in art to create exceptional maps for several <a href="https://archive.org/details/worldshistory0000fred/page/20/mode/2up">books</a> and <a href="https://archive.org/details/magazine-of-the-year_1947-08_1_6/page/10/mode/2up?q=%22harold+faye%22+maps">magazines</a> . Harold Faye passed away in 1980 in Irving, NY. 6 works <a href="https://magart.rochester.edu/artist-maker/info/717?query%3D%5bExhibitions%5d_ID%20%3D%20%22761%22%26sort%3D26%26page%3D51">at Memorial Art Gallery</a>. 1 work at <a href="https://www.hrm.org/collection/90-10-8/">Hudson River Museum</a>. 5 works at <a href="https://www.nga.gov/artists/33410-harold-faye">National Gallery of Art</a>. 16+ works at <a href="https://art.gsa.gov/people/1314/harold-faye/objects/images?page=1">US GSA</a>. 2 works at <a href="https://collections.mcny.org/CS.aspx?VP3=DamView&VBID=24UP1GZ2MN916&SMLS=1&q=Harold+Knickerbocker+Faye+(1910-1980)&RW=1366&RH=600">Museum of NYC</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-6">FAP</a>. 21 images at <a href="https://art.gsa.gov/people/1314/harold-faye/objects" target="_blank" rel="noopener">GSA</a>. Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Creator An entity primarily responsible for making the resource Faye, Harold (1910 - 1980) Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Pallotta, Florence (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1216 Type The nature or genre of the resource Still image City Federal Art Project Harold Faye lithograph New Deal Museum Urban Setting https://openvalley.org/files/original/31f5c071e60f260db22597c2a1023bbe.jpg d794213ac0615eec89f4fa8b7f9823df https://openvalley.org/files/original/24a79c6d2baf83b73c7d219b5f66a057.jpg a3a01b5268880128ee246f1370f2f077 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas Physical Dimensions The actual physical size of the original image 30 x 24 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource “City Landscape” uses a beautiful palette of earth tones set against concrete infrastructure, especially an overpass that curves across the sky. Beneath that new automotive world, a jumbled cluster of buildings appears at left. It's difficult to tell whether the road in the foreground--which takes up a large portion of the painting, almost like a river--is concrete or dirt. Regardless, no automobiles appear in the painting and the sidewalk edges flow organically. Perhaps this absence of movement and human actions is what led Sievan to envision the scene as a landscape. On the right side of the street, we see two people standing who match the painting's color scheme; however, on the opposite side of the street, two people wear white coats--maybe indicating a wealth gap. Faint lines across the center could be a train track, still carrying this variety of people who are traveling separately. Title A name given to the resource City Landscape Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Drexler, Nora (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 822 Format The file format, physical medium, or dimensions of the resource jpeg, 2.6 MB jpeg, 1.2 MB Type The nature or genre of the resource Still image Creator An entity primarily responsible for making the resource Sievan, Maurice (1898 - 1981) City Federal Art Project Maurice Sievan New Deal Museum painting https://openvalley.org/files/original/42212836f249522b0e9f74f5b055880a.jpg 5c5a3d7b0d72d18dd1000f10ff707a94 https://openvalley.org/files/original/284857da530104f5762e92b31bd61e1a.jpg 68f59cb6defcb30804a99411dbafa256 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 12 7/8 x 9 7/8 in. Framed: 21 x 17 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Hampshire Auction Description An account of the resource Reed's print presents a crowded rural auction taking place in front of a large farmhouse barn. A crowd gathers closely together with movement towards the barn’s open doorway, where an auctioneer can be seen standing on a pedestal above the crowd. The people in the scene are holding various objects such as bedframes, chairs, wheelbarrows, ladders, and other household items. Given its date, we might infer that bankruptcy is forcing the sale. The print is characterized by the artist's signature layered crosshatching and use of shading, to create contrast that draws the viewer's eye in. Campbell uses negative space to create depth in a busy area, intentionally allowing the subjects to blend into the white paper as they move into the background of the piece. Campbell uses sharp lines to cut through the blended background elements such as the ground, sky, and parts of the crowd. It’s notable that structures and objects of interest are structured in front of curved, blended elements of the work that are meant to show movement such as the busy crowd or the clouded sky.  While there's a strange energy to people carrying off purchases, a young girl points at a bedframe that might have belonged to her. About the Artist Blendon Reed Campbell was an American illustrator and painter whose life path, and even visual style, fundamentally transformed alongside events of the early 20th century. Born in St. Louse in 1872, he moved to San Francisco two decades later and began his career as a staff artist for the Chronicle. In 1897, Campbell relocated to Paris, studying at the Académie Julien and exhibiting at the American Art Association show in Paris. Upon his return to the US in 1900, he joined a short-lived studio under James Abbott McNeill Whistler. In 1902, Campbell joined a group that founded the California Society of Artists with the intention of providing opportunities for young artists outside of the already-established San Francisco Art Association; still, he moved East to sustain his career. In New York, Campbell was a prolific commercial artist, creating covers and illustrations in the Art Nouveau style for periodicals like <a href="https://archive.org/details/rare-posters-rare-posters-15-nobember-2020/page/n42/mode/1up" target="_blank" rel="noopener">Scribner’s</a>, <a href="https://archive.org/details/Cosmopolitan190502" target="_blank" rel="noopener">Cosmopolita</a>n, <a href="https://archive.org/details/McCluresMagazineV30n05190803/mode/1up" target="_blank" rel="noopener">McClure’s</a>,  <a href="https://archive.org/details/stnicholasv34part1dodgrich/page/194/mode/1up" target="_blank" rel="noopener">St. Nicholas</a>, and many others. In addition to magazine work, he provided illustrations for several books including Neith Boyce’s <a href="https://archive.org/details/eternalspringnov00boyciala/eternalspringnov00boyciala/" target="_blank" rel="noopener">The Eternal Spring</a> (1906), Booth Tarkington's <a href="https://archive.org/details/beautifullady0000unse/page/22/mode/2up" target="_blank" rel="noopener">The Beautiful Lady</a> (1905), and William J. Locke’s <a href="https://archive.org/details/christmasmystery00lock/page/n15/mode/2up" target="_blank" rel="noopener">A Christmas Mystery</a> (1910). Some of Campbell’s most frequently reproduced works focused upon Abraham Lincoln: in <a href="https://archive.org/details/lincolncentenary01abba/page/n79/mode/2up" target="_blank" rel="noopener">The Century Magazine</a> (1908), Ida M. Tarbell’s biography <a href="https://archive.org/details/fatherabraham00tarb/page/n7/mode/2up" target="_blank" rel="noopener">Father Abraham</a> (1909), and Osborn H. Oldroyd’s <a href="https://archive.org/details/bwb_T5-CRO-626/page/248/mode/2up" target="_blank" rel="noopener">The Poet’s Lincoln</a> (1915). Meanwhile, Campbell also was in demand as a portrait painter. While in New York, Campbell became a charter member of the Whitney Studio Club. In line with his work in California, that association was an important venue for artists of the time who intended to push academic norms. During the Great Depression, Campbell was amongst many artists who participated in the Federal Arts Project. His work from this period often depicted rural life and labor. In later years Campbell lived in Connecticut and Florida with his daughter, also an artist, before passing in 1969. 10 Works at <a href="https://www.philamuseum.org/collection?artist=Blendon%20Reed%20Campbell" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 10 works at <a href="https://whitney.org/artists/222" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 5 works at <a href="https://collections.newarkmuseumart.org/search/Blendon" target="_blank" rel="noopener">Newark Museum of Art</a>. 1 work at <a href="https://artuk.org/discover/artworks/day-a-group-of-female-figures-dancing-on-a-seashore-39896/search/2026--keyword:blendon--referrer:global-search" target="_blank" rel="noopener">Victoria Art Gallery</a>. 6 images at <a href="https://art.gsa.gov/people/1314/harold-faye/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “With the Artists,” San Francisco Chronicle 5 Mar. 1899: 22; “Art Triumphs,” Oakland Enquirer 23 Jan. 1900:1; Marjorie Zak, “A Visit With Blendon Campbell,” Bradenton Herald 27 July 1969: 1-B+; Blendon Reed Campbell, “Surrealism: New School of American Art,” The Literary Digest 15 Dec. 1934: 19 <a href="https://archive.org/details/literary-digest_1934-12-15_118_24/page/19/mode/1up" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Campbell, Blendon Reed (1872 - 1969) Publisher An entity responsible for making the resource available Federal Art Project Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 734 KB Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Killelea, Keira (description and biography) Cooper, Ken (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1153 Type The nature or genre of the resource Still image Bankruptcy Blendon Reed Campbell Farm Federal Art Project Great Depression lithograph New Deal Museum https://openvalley.org/files/original/b4802ccc15c280ca7e86ab8498d385c4.jpg f2866e65cb007466c98292cf082ab49c https://openvalley.org/files/original/8799d2fa53e92c2f194b9752a931a127.jpg 190f7a0828e20a278d816fee35239b81 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 14 3/8 x 10 1/4 in. Framed: 21 x 17 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lonely House Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB jpeg, 714 KB Description An account of the resource A house is pictured by itself, but what makes it lonely? Many small details, along with Dwight's stylized composition, supply the answer. The building's stone walls still look sturdy, but its chimneys and shutters are in ill-repair; trees extended over its roof haven't been pruned in some time. There may be some kind of animal perched there. We can discern traces of former caretaking, like the posts of a fence and specimen plantings that are overgrown. What seems to be a conservatory or greenhouse is visible at right, above it an enigmatic cruciform object. Dwight's brushstrokes are create soft, even pillowy masses of foliage, clouds, and even furrows in the road--quite incongruous with the sense of abandonment that may be compared with Dorothy Varian's <a href="https://openvalley.org/items/show/1052" target="_blank" rel="noopener">Deserted House</a> (1935). Here, the sky's mottled lighting is reproduced upon the landscape below, with only a pair of lighted windows at left to suggest any remaining inhabitants. In just a few years Virginia Wade Burton's children's book, <a href="https://en.wikipedia.org/wiki/The_Little_House_(picture_book)" target="_blank" rel="noopener">The Little House</a> (1942), would teach readers to identify with an abandoned home that seems to already inform Dwight's print. About the Artist Born Mabel Jacque Williamson in Cincinnati, OH, Dwight was one of the more controversial and prolific lithographers of her time. She studied painting at the Hopkins School of Art in San Francisco, CA in her twenties, travelling to Paris, Egypt, India, and other destinations after her studies. She married Eugene Higgins in 1906 before divorcing in 1921, when she changed her last name to Dwight (for reasons unknown). Even before making art full time, she had become a champion of socialist art and ideals, inspired by her time in college. “I was born with a hatred for the duality of poverty and riches,” she recalled. In 1926, at the age of fifty, Dwight began making her first lithographs and by 1928 her work was displayed at the Weyhe Gallery in New York City. Dwight’s main subjects were the ordinary residents of New York City, depicting their lives during 1920s opulence and then the Great Depression. Dwight’s lithographs offered an unflinching, documentary view that was suffused with social commentary. As she later explained, “There are always artists who cannot be satisfied with the credo of art for art’s sake. They must tell stories, express opinions, and ‘take sides’” (“Satire in Art” 151). Dwight observed, however, that the great satirists like William Hogarth rarely made use of “arbitrary distortion,” and her lithographs usually had realistic and inclusive features—such as rounded forms and subtle lighting—that create unity among its subjects. Dwight brought complex social issues to an accessible medium with subtlety and artistic integrity. Dwight was employed by the Federal Art Project (1935-1939) and was a member of the American Artists’ Congress, which championed socialist policies and promoted artists’ rights. By the end of her career in 1941, she had created more than a hundred lithographs collected at a variety of museums and universities. 27 works at <a href="https://whitney.org/artists/388" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 19 works at <a href="https://www.metmuseum.org/art/collection/search?q=%22mabel+dwight%22&offset=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 20 works at <a href="https://americanart.si.edu/search/artworks?content_type=artwork&persons%5b%5d=2611" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 23 works at <a href="https://www.cartermuseum.org/artists/mabel-dwight" target="_blank" rel="noopener">Amon Carter Museum</a>. 20 works at <a href="https://www.nga.gov/artists/6498-mabel-dwight/artworks" target="_blank" rel="noopener">National Gallery of Art</a>. 10 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-37" target="_blank" rel="noopener">FAP</a>. 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 1938 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) Scamardo, Sam (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1194 Type The nature or genre of the resource Still image Federal Art Project landscape Mabel Dwight New Deal Museum Ruins https://openvalley.org/files/original/92925cae5d5a2f749888975798ee226a.jpg 2ebb45d05feff337f4ab854d36d23d74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Drypoint on paper Physical Dimensions The actual physical size of the original image 9 1/2 x 12 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two Hoboes Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 1.6 MB Description An account of the resource Two men create a makeshift camp, which seems to have involved chopping wood and heating cans of food. They appear to be worn and tired and dressed in simple clothing. Zilzer’s title alerts us that the pair may be migrant workers who travel by (illegally) hopping trains, distinguished from “tramps” who traveled but didn’t seek work. The older man, at left, is wearing what may be a kepi hat from the Civil War era; his leg is fitted with a prosthetic, whether due to military casualty or a train accident is unknown. The other man’s contribution to an improvised household is music (in the form of a simple flute) and perhaps contact with current events, in the form of a rolled-up paper in his pocket. They’re arranged to be facing each other, creating a loosely circular whole. The scene’s composition is quite strange. Its foreground is very detailed and makes use of drypoint lines to create modeled, tangible objects—deeply worn ones at that. The background, however, shows only the outline of trees and stylized “speed lines”: a passing train? a minimalist backdrop? something more existential? Regardless, Zilzer’s shallow space keeps our focus on the two individuals, emphasizing the dire conditions of their survival. His knack for evoking emotional connection can be experienced by looking at the expression on the older man’s face: weariness personified, yet somehow still affected by music. However briefly, an invisible or reviled class of Americans confronts its viewer in their abandonment and persistence. 11 images at <a href="https://art.gsa.gov/people/2695/gyula-zilzer/objects" target="_blank" rel="noopener">GSA</a>.  Creator An entity primarily responsible for making the resource Zilzer, Gyula (1898 - 1969) Publisher An entity responsible for making the resource available Federal Art project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Hudson, Timothy (description) Helquist, Morgan (photograph) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1590 Type The nature or genre of the resource Still image Federal Art Project Gyula Zilzer Hobo Homelessness lithograph New Deal Museum https://openvalley.org/files/original/884c2ddf765696b7bb262562a08961c8.jpg b028671db6f4860e3d811b0e4adc2784 https://openvalley.org/files/original/7b3129ed2930f74b2766a0d554e56767.jpg 7413a9b8195a99215c4b801aa760f774 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 11 3/4 x 9 1/2 in. Framed: 21 x 17 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Storm Over Provincetown Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 467 KB Description An account of the resource This lithograph features a view of two small Provincetown homes, seemingly situated in a village, with a deep storm brewing overhead. Though not overtly noticeable, there is a man traipsing between the shacks on what appears to be a first road. This dirt road is one of the strongest lines in the lithograph, bending into the scene and drawing the viewer in. There is a strong contrast in the values of this piece: the faces of the homes are in full light, but their sides are cast into nearly full shadow. The clouds overhead are also very dark, which makes the scene even more ominous. The shapes in this piece are very clear in the form of the houses, but become more nondescript and chaotic in the clouds and ground. The piece feels slightly top-heavy in terms of balance, though even laterally. Noticing the small details in this piece creates a fuller sense of its story than what is available at first glance. The trees sway slightly, and the leaves are pulled horizontally, which implies high winds, and the juxtaposition of the small bolt of lightning next to the powerlines creates a subliminal sense of danger. There is also an emptiness beyond the lonesome man, which prompts the viewer to consider how everyone in this town, whom we cannot see, is faring in this storm. 11 images at <a href="https://art.gsa.gov/people/1415/john-worthington-gregory/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Gregory, John Worthington (1903 - 1992) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Hejaily, Monica (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1271 Type The nature or genre of the resource Still image Federal Art Project John Worthington Gregory lithograph New Deal Museum Provincetown, MA https://openvalley.org/files/original/c17684fa324a8c3cc21697a9585d0083.jpg 6c0b38a6e291948d74ed2588d35c5745 https://openvalley.org/files/original/f4024768bfae26467ba381fa2cff9536.jpg ed3ecdd19e740fd30f55f20d74eec59a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Color woodcut on paper Physical Dimensions The actual physical size of the original image Image: 11 x 13 3/4 in. Sheet: 15 1/2 x 18 3/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Girl Sewing Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.3 MB Description An account of the resource Bernard Schardt’s graphic art "Girl Sewing” displays Schardt’s style the most, showing an African American woman at home sitting alone in her home sewing. Schardt print here is a color wood cut which was a popular choice among artists during this period. Which is why Schardt chose a geometric style especially in the background of the print. Schardt uses bright colors such as orange and blue for her dress, as well as with the couch. However, the floor and furniture use darker colors, to show the mundaneness of the scene unfolding. The subject is casual clothing, nothing that seems to be expensive or extravagant, and she is wearing slippers. Schardt uses the space in the painting, with the subject dominating it. Schardt doesn’t choose an exciting scene nor a happy subject, he stresses the ordinariness of the girl. The girl could be another face in the crowd, and that is what makes her the perfect subject for this specific period. Schardt's focus during this time is to display the ordinary and the unseen, which is why his use of the subject taking up the entirety of the print making the viewer focus on someone they might never have before. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</a>.  Creator An entity primarily responsible for making the resource Schardt, Bernard P., 1904-1979 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Lay, Giavanna (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1491 Type The nature or genre of the resource Still image Bernard P. Schardt Federal Art Project lithograph New Deal Museum