6 10 295 https://openvalley.org/files/original/4d48d9bb768487e01c075aaebc055931.jpg 64fa56ba251043ab0d6ab9b1f34732df https://openvalley.org/files/original/075cc50158dca2a14e6a096e6edb98a9.jpg f543e071d374a4afbc3a42e90f4655b8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas Physical Dimensions The actual physical size of the original image Canvas: 24 x 20 × 24 in.  Frame: 25 1/8 x 21 1/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Third Avenue El Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1934 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (description and biography) Helquist, Morgan (photography) Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.3 MB Description An account of the resource Third Avenue El, set in New York City, features the corner of an intersection with four uniquely colored buildings. One has a brick-like color and texture, and the rest with uncommonly bright colors like pale blues, greens, and reds. These bright colors give the painting a calming and happy mood. The townhouse-style buildings include a few small businesses, such as a laundry and a shop. The scene is set in the winter, with snow on the streets and people bundled in hats and coats as they walk along the sidewalks. Sunlight shines directly on the buildings, making the colors appear even brighter and emphasizing the whiteness of the snow. The viewer’s point of view is at eye level with the buildings, which makes the facial features of the people on the sidewalks blurry and shifts attention toward the overall layout of the street. This perspective helps the viewer understand the space of the scene while still feeling slightly detached, as if observing from just above street level. The street is not crowded, and the people are spaced out, one couple holding hands, another talking, and a few standing by themselves. The three-dimensional buildings bring out sharp lines that define the angles in the foreground, while the softer gray corner building draws attention to the elevated railway train crossing Third Street. The horizon has more buildings in the background, darker in color and cast in shadow, offset by the bright blue sky above them. The color of the sky brings the overall mood of the painting together, creating a sense of peace and happiness through its light, beautiful blue. Creator An entity primarily responsible for making the resource Nelson, Carl Gustaf (Simon), 1898 - 1988 Source A related resource from which the described resource is derived New Deal Museum Mount Morris NY Object #FA 125 https://openvalley.org/files/original/be8f6268966f60be2e7bbb2b423310f3.jpg c90c2ae125029337758e621be77b700c https://openvalley.org/files/original/92064da9f1000ba04bbf8ba5b79e4021.jpg 7a42579dbdcb3866dd0b89b9f6f37368 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Aquatint in paper Physical Dimensions The actual physical size of the original image Image: 9 x 12 in. Sheet: 11 x 15 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Practicing Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.6 MB Description An account of the resource Inside a home, a woman plays the upright piano while her dog rests at her feet, creating an intimate and cozy scene shaped by concentration and routine. A single lamp casts a limited pool of light across the piano, leaving the rest of the room in shadow and drawing the viewer’s attention to her focused posture and the sheet music in front of her. The music she’s playing is titled Sonata 3 by Botts, giving a subtle hint toward the artist himself. The book next to her music is titled “Study, WPA 1938 NYC” by Botts, along with an agility exercise book behind it. By putting his own name on the sheet music, Botts has inserted himself into the print while also blurring the line between the woman’s artistic practice and his own. By placing his name on the music she plays, Botts suggests a connection between creating art and performing it, positioning himself as both observer and participant in this domestic moment. The composition reinforces this sense of closeness: we see her in profile from only a few feet away, as if we are standing beside her. Small details like the soft wooden texture of the piano, the patterned rug beneath the damper pedal, and the individual hairs on the dog deepen the cozy domestic atmosphere. Even the metronome mid-swing emphasizes rhythm, discipline, and the steady labor behind artistic work. Together, these elements create a scene not just of a woman practicing music, but of the intimate, concentrated world of artistic creation that Botts subtly aligns with his own identity. About the Artist Born in New York City in 1903, Hugh Pearce Botts was an accomplished American artist. He studied at Plainfield High School in New Jersey and Rutgers University and later received his formal art training at the National Academy of Design. His teachers included Roy Hilton, Charles Curran, Charles W. Hawthorne, Ivan G. Olinsky, and William Auerbach-Levy, whose diverse approaches, from impressionism to portraiture to caricature, shaped Bott’s development as a painter and printmaker. Botts went on to work with various institutions, including the Carnegie Institution, Queens College, Princeton University, Pennsylvania State University, Syracuse University, and the American Museum of Natural History. His professional work ranged from landscapes, cityscapes, and industrial architecture to portraits of working-class subjects. He also created prints that depicted scenes of home life, often using cartoon-like facial features to express emotion and concentration. This expressive quality is especially visible in his <a href="https://nationalacademy.emuseum.com/people/1149/hugh-pearce-botts" target="_blank" rel="noopener">self-portrait</a>, painted in oil on canvas. 94 works and sketches at <a href="https://magart.rochester.edu/artist-maker/info/42?sort=3" target="_blank" rel="noopener">Memorial Art Gallery</a>. 18 works at <a href="https://collections.newarkmuseumart.org/search/Botts" target="_blank" rel="noopener">Newark Museum of Art</a>. 3 works at <a href="https://onlinecollections.syr.edu/advancedsearch/Objects/people%3Abotts" target="_blank" rel="noopener">Syracuse University Art Museum</a>. 2 works at <a href="https://americanart.si.edu/artist/carl-gustaf-nelson-3511" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 8 images at FAP. 6 images at <a href="https://art.gsa.gov/search/botts" target="_blank" rel="noopener">GSA</a>.  Creator An entity primarily responsible for making the resource Botts, Hugh Pearce (1903 - 1964) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1131 Type The nature or genre of the resource Still image Federal Art Project Hugh Pearce Botts lithograph New Deal Museum https://openvalley.org/files/original/a01b5fdf048971bb8a18498e900bb98d.jpg 237f85a4642b0714f42557d72e1a10a5 https://openvalley.org/files/original/499154451886df670ac99388b5442a69.jpg e3191fe506c7eef4cd68c92287ea2a76 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Print etching Physical Dimensions The actual physical size of the original image Image: 10x 13 in Framed: 17 x 21 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dr. Sokoloff Conducting Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg 299 KB Creator An entity primarily responsible for making the resource Sherman, Effim H. Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1509 Type The nature or genre of the resource Still image Description An account of the resource 15 images at <a href="https://art.gsa.gov/search/%22effim%20h.%20sherman%22" target="_blank" rel="noopener">GSA</a>.  Effirm H. Sherman Etching Federal Art Project Music New Deal Museum https://openvalley.org/files/original/06d0b5b794d6e608f8e0a1b1a17b8f66.jpg 5043a8a79e61ed0a0ad6efc40a15c50f https://openvalley.org/files/original/9763db64a1c1c788b71115008d02229d.jpg 362ee2ddb27b89b64a7458c0824a2feb 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: 12.5 x 9.75 in. Sheet: 16 x 11.5 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 Cliffs by the Sea Format The file format, physical medium, or dimensions of the resource jpeg, 2.2 MB jpeg, 2.1 MB Description An account of the resource About the Artist Born Mabel Jacque Williamson in Cincinnati, OH, Dwight was one of the more controversial and prolific lithographers of her time. She studied painting at the Hopkins School of Art in San Francisco, CA in her twenties, travelling to Paris, Egypt, India, and other destinations after her studies. She married Eugene Higgins in 1906 before divorcing in 1921, when she changed her last name to Dwight (for reasons unknown). Even before making art full time, she had become a champion of socialist art and ideals, inspired by her time in college. “I was born with a hatred for the duality of poverty and riches,” she recalled. In 1926, at the age of fifty, Dwight began making her first lithographs and by 1928 her work was displayed at the Weyhe Gallery in New York City. Dwight’s main subjects were the ordinary residents of New York City, depicting their lives during 1920s opulence and then the Great Depression. Dwight’s lithographs offered an unflinching, documentary view that was suffused with social commentary. As she later explained, “There are always artists who cannot be satisfied with the credo of art for art’s sake. They must tell stories, express opinions, and ‘take sides’” (“Satire in Art” 151). Dwight observed, however, that the great satirists like William Hogarth rarely made use of “arbitrary distortion,” and her lithographs usually had realistic and inclusive features—such as rounded forms and subtle lighting—that create unity among its subjects. Dwight brought complex social issues to an accessible medium with subtlety and artistic integrity. Dwight was employed by the Federal Art Project (1935-1939) and was a member of the American Artists’ Congress, which championed socialist policies and promoted artists’ rights. By the end of her career in 1941, she had created more than a hundred lithographs collected at a variety of museums and universities. 27 works at <a href="https://whitney.org/artists/388" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 19 works at <a href="https://www.metmuseum.org/art/collection/search?q=%22mabel+dwight%22&offset=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 20 works at <a href="https://americanart.si.edu/search/artworks?content_type=artwork&persons%5b%5d=2611" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 23 works at <a href="https://www.cartermuseum.org/artists/mabel-dwight" target="_blank" rel="noopener">Amon Carter Museum</a>. 20 works at <a href="https://www.nga.gov/artists/6498-mabel-dwight/artworks" target="_blank" rel="noopener">National Gallery of Art</a>. 10 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-37" target="_blank" rel="noopener">FAP</a>. 34 images at <a href="https://art.gsa.gov/people/47/mabel-dwight/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted:Mabel Dwight, “Satire in Art," in Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project, ed. Francis V. O'Connor (1973) <a href="https://archive.org/details/artformillionses00ocon/page/151/mode/1up" target="_blank" rel="noopener">Link</a>; David Herman. “Mabel Dwight: Art as a Living Influence on the World,” Greenwich Village Society for Historic Preservation (2026) <a href="https://www.villagepreservation.org/2026/03/18/mabel-dwight-art-as-a-living-influence-on-the-world/" target="_blank" rel="noopener">Link</a>; Library of Congress, Life of the People: Realist Prints and Drawings from the Ben and Beatrice Goldstein collection, 1912-1948 (1999) <a href="https://archive.org/details/lifeofpeoplereal0000unse/mode/2up?q=%22mabel+dwight%22" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Dwight, Mabel (1876-1955) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1195 Type The nature or genre of the resource Still image Federal Art Project lithograph Mabel Dwight New Deal Museum Nude https://openvalley.org/files/original/75cadfc8f69db685424fc880eb5b3cb9.jpg 5d165e652c5d326495677a61f18f9d12 https://openvalley.org/files/original/b2e3ccc8330428115fe4a8118ccecd14.jpg 3cfd796f1c4b867963ccf442880bc17c 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 Wood engraving on paper Physical Dimensions The actual physical size of the original image 5.5 x 7 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 Figure Subject Description An account of the resource Figure Subject is a print that showcases a nude woman looking off as she rests her arms and stands on a windy brick ground, barefoot. Wiltz plays with perspective by not having the road directly lead to the background--he even has the supposed ground blend in with a bridge. The woman’s body is split into muscle-group areas, creating distinct differences in different parts of her body. She is leaning on what looks like a wood structure, like a table, until you look closer and realize that it is stacked steel beams with a birdcage-like structure in front of it, creating the illusion. The print is composed in black and white, which seems to highlight the mundanity that is juxtaposed with the nude woman in a public space--which isn’t quite a real spot--and evokes how mass industrialization must felt. Public spaces were becoming unrecognizable. Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 803 KB Creator An entity primarily responsible for making the resource Wiltz, Arnold (1889 - 1937) 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 Loucks, Paige (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1581 Type The nature or genre of the resource Still image Arnold Wiltz Federal Art Project lithograph New Deal Museum Nude https://openvalley.org/files/original/79c83d47a9ac4368b796e822eb684cde.jpg afb7fa8e29f36d4bc8678b0f2f58b00f https://openvalley.org/files/original/2f8e9ab0ee0f7a228008dabef453aaf4.jpg 5c923118ea8c6e42b5a1f92e09a51376 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 Physical Dimensions The actual physical size of the original image 26 x 20 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 Green Mountain Village Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 969 KB Description An account of the resource A gray sky overlooks the main street of a small mountain town, rendered by Prestipino with flat shapes and minimal shading. The unrealistic proportions and perspective in the painting give the image a visual appearance that evokes American folk art, which employs similar formal techniques. In the village, several old men and a few young women with an infant are gathered. In the middle of the painting is a building with a prominent clock tower topped in goldwork, perhaps the town’s city hall. A tiny figure can be made out working on the side of the tower. Behind the town hall are a few buildings which appear to be mixed use for residential and commercial purposes. On the far left side of the painting, a man sits on a rocking chair on the porch of a house which also sports an oval blue “Ford” sign, the sole source of ‘branding’ in the image.A heavy-set man stands facing away from the viewer in the bottom center of the painting, his large posterior on prominent display. Perhaps the proximity of the substantial buttocks in the composition to the state building presents some sort of sly political commentary on Prestipino’s part? About the Artist Gregorio Prestipino was born in 1907 to Sicilian immigrants Antonino Prestopino and Letteria Rando, who raised the boy in Little Italy in New York City. Prestipino’s career in the arts was kickstarted when he received a scholarship to the National Academy of Design in New York. At this renowned institution, the burgeoning painter had the opportunity to study under the guidance of portrait and genre painter  C.W. Hawthorne. Drawing from the works of 16th-century artist Pieter Bruegel as well as contemporary urban scenes he observed in Manhattan and Harlem, Prestipino created social realist paintings with a cubist influence that depicted, in the words of historian Irma B. Jaff, “the human condition with a warmth tempered only by honesty." A series of paintings depicting scenes from a New York State prison was featured in Life magazine in 1954, a major achievement for Prestipino. The same year, Prestipino served as the director of the MacDowell Colony - America’s first artist-in-residence program, located in Peterborough, New Hampshire. In recognition for his body of work, Prestipino was awarded the Rome Prize in 1972, which allowed him to further his studies with a residency at the American Academy in Rome. In addition to the serious topics he tackled, Prestipino also produced fanciful paintings and illustrations for children; his 1937 mural work depicting Mother Goose rhymes adorned the Infant Pavillion of the Welfare Island hospital in New York, and he provided whimsical illustrations for the 1968 picture book The Reluctant Dragon. Gregorio Prestinio passed away in 1984 at the age of 77. Creator An entity primarily responsible for making the resource Prestopino, Gregorio, 1907 - 1984 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 Casey, Meaghan (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 403 Type The nature or genre of the resource Still image Federal Art Project Gregorio Prestopino New Deal Museum painting Vermont https://openvalley.org/files/original/541301d3a77e08152d6a3ac5f2229df9.jpg fca3395af129292b3613945e9ed13360 https://openvalley.org/files/original/008588f1454011311b620e3969bc8cb3.jpg a7a70632703c69d6cee5802b12aa57af 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 Wood engraving Physical Dimensions The actual physical size of the original image Image: 8 x 6 1/2 in. Sheet: 11 1/2 x 8 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 990 KB jpeg, 996 KB Title A name given to the resource Cumberland Checkers Description An account of the resource About the Artist: Born in Milwaukee, WI, Schardt studied at the Art Institute of Chicago and then the Art Students League in New York. His works were exhibited at the Federal Gallery and the Municipal Art Gallery. Beginning in the 1935 Schardt began working for the Federal Art Project in a variety of roles: printmaker, allocations administrator, facilitator in the Poster Division; he oversaw the WPA demonstration exhibits at the 1939 World’s Fair. During this period Schardt and his wife, the WPA artist Nene Vibber, shared a flat with Jackson Pollock. Schardt’s background in printmaking and administrative capacities often extended beyond the galleries. In the late 1930s and early ‘40s he worked for the National Youth Administration (NYA) at its Art Production Unit, where students learned about commercial art while creating posters for the Farm Security Administration (FSA) and military recruiters (“NYA Youth”). After World War II, his friend Jackson Pollock mentions Schardt working at “silkscreen printing (cosmetics) on a big skale [sic]” (Savig 192). He also continued to mentor young artists via lessons at the Brooklyn Musuem. 4 works at <a href="https://americanart.si.edu/artist/bernard-schardt-4288" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 works at <a href="https://www.nga.gov/collection/artist-info.33966.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at Metropolitan Museum of Art. 2 works at the Brooklyn Museum. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-29" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</a>. Sources Consulted: University of Michigan Museum of Art, The Federal Art Project : American Prints from the 1930s in the Collection of the University of Michigan Museum of Art (University of Michigan Museum of Art, 1985); “NYA Youths Design Air Corps Posters,” Brooklyn Eagle 24 Aug. 1941: 6A; Mary Savig, ed., Pen to Paper: Artists’ Handwritten Letters from the Smithsonian’s Archives of American Art (Princeton Architectural Press, 2016). Creator An entity primarily responsible for making the resource Schardt, Bernard P., 1904-1979 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1942 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1490 Bernard P. Schardt Federal Art Project Games New Deal Gallery woodcut https://openvalley.org/files/original/5559f06ffe501f669c4589dea2857f25.jpg 0ea93acdc96a1249711a9106af00275c https://openvalley.org/files/original/ebf1c36229fba985086ea98664eeac09.jpg b13a4156330c6133d73bb2952a7bb7c2 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: 10.5 x 12.5 in Framed: 15 x 18 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource City Playground Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Harris, Ariana (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived Federal Art Project Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 628 KB Type The nature or genre of the resource Still image Description An account of the resource Anchel’s lithograph is a perceptive depiction of an urban recreational space, which has numerous activities occurring around its focal point that create a dynamic of movement and energy. In the distance, tall buildings provide the backdrop for a playground constructed under elevated train tracks; a similarly curving fence encloses it. In the foreground, metal supports of a swing set contain most of the figures within a triangular frame, except for a girl in another triangle. The three closest children are in the midst of physical actions; two others observe them from the shadowy background. At first it might look like “playing games,” except that the larger boy running toward the swing seems to alarm the younger children—perhaps he means to take it for himself. Anchel’s print creates a momentary stage that organizes its meaning based on where individuals are located: in a city, there are almost always spectators and small dramas, even among children. 12 images at <a href="https://art.gsa.gov/people/824/harold-anchel/objects" target="_blank" rel="noopener">GSA</a>. children Federal Art Project Harold Anchel lithograph New Deal Museum new york city https://openvalley.org/files/original/dcba44438005988935b7366986056378.jpg 77aa719db43bd8237b917402881b157b https://openvalley.org/files/original/f8aabde3af6dbd26bc903e254f250a99.jpg de1b3e8b8ad66c4520d003bd7cd3e761 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Print etching Physical Dimensions The actual physical size of the original image 9 x 11-3/4 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 Boat Musicians Creator An entity primarily responsible for making the resource Sherman, Effim H. Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1508 Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.4 MB Type The nature or genre of the resource Still image Description An account of the resource 15 images at <a href="https://art.gsa.gov/people/2354/effim-h-sherman/objects" target="_blank" rel="noopener">GSA</a>. Effirm H. Sherman Federal Art Project lithograph Music New Deal Museum https://openvalley.org/files/original/a9d86eb1d69ec3f0b0ae32f4c68741a3.jpg 5593028fdba7e3b9853c3fe022926b3f https://openvalley.org/files/original/4578d2d96e0347e2363725dea11c7ae7.jpg bb624b911efe161830552f0d07b60e11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Print lithograph Physical Dimensions The actual physical size of the original image 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, 1.9 MB jpeg, 1.1 MB Title A name given to the resource Ballet Dancer No. 4 Creator An entity primarily responsible for making the resource Murphy, Arthur G. Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1342 Type The nature or genre of the resource Still image Description An account of the resource Ballet Dancer No. 4 is a lithograph depicting a ballerina in motion, her upper body bent towards the ground, with most of her weight placed on her right leg. The other leg is bent at the knee and propped up on a platform of some kind. Most interestingly is the string she holds taut between both hands, seemingly guiding her stretch. The organic linework, lack of shadow, and minimal finer detail emphasizes the strength of the dancer’s form while adding fluidity. The background is mostly bare apart from the surface where she elevates her knee and what appears to be another string curling on the ground by her right foot. Light smudges of ink around the figure help her stand out in the emptiness, creating visual intrigue. This print is part of a series that Murphy created using dancers from the <a href="https://en.wikipedia.org/wiki/Ballets_Russes" target="_blank" rel="noopener">Ballet Russes</a>, which was passing through San Francisco. About the Artist Arthur Murphy was born in Tiffin, OH, later crediting aimless walks through its woodlands for teaching him how to see as an artist (Robinson). After graduation he moved to Cleveland and began work in the art department of the Central Press Association, meanwhile taking classes at the Cleveland School of Art. In 1927 Murphy relocated to New York, continuing his studies at the Art Students League with <a href="https://en.wikipedia.org/wiki/Boardman_Robinson">Boardman Robinson</a>. In 1930 Murphy took “one hell of a gamble” and left his illustrator job at the Associated Press—this during the Great Depression—to become a painter (Burkholder). He traveled West with virtually no money, riding trains with other hoboes and sketching scenery. Eventually, he settled in San Francisco, met the influential Mexican muralist Diego Rivera, and became a well-regarded painter, printmaker, and muralist. Murphy’s unconventional life path and choices of subject matter led a reviewer to remark in 1933:  “His story interests because it reveals how an artist grows up in America today, what it feels like to be an artist and what hardships may be cheerfully endured by one who feels the need to create” (Millier). All of Murphy’s work for the FAP dates to this period, nearly a hundred individual prints: series of lithographs showing steel riggers at work building the new Golden Gate Bridge; Ballet Russe dancers traveling through the city; rurally themed prints of cowboys, horses, and rodeos. “I can’t stand total realism,” he claimed, but as later critics suggested it was more a matter of matching at times wildly different styles to his wide-ranging subject matter (Cotter). After several exhibitions under the auspices of the FAP, in 1941 the San Francisco Museum of Art staged a solo show of Murphys’s considerable output. He was drafted into the Army, in 1943, as a combat artist in the Pacific. Murphy was an eyewitness to the <a href="https://en.wikipedia.org/wiki/Battle_of_Leyte_Gulf">Battle of Leyte Gulf</a> (1944), the largest naval battle of WWII, and on land recorded war atrocities through his drawings. Years later, he still was drawing those scenes from memory. Murphy returned to the US married to an Australian partner, settled in Old Saybroook, CT, and continued with his painting supplemented by income as an art teacher. During the mid-1960s, he was instrumental in forming the Old Saybrook Artists Association, supporting others until his death in 1991. 33 works at <a href="https://www.philamuseum.org/collection?artist=Arthur%20Murphy">Philadelphia Museum of Art</a>. 25 works at <a href="https://www.moma.org/artists/45861-arthur-murphy">MoMA</a>. 25 works at <a href="https://dia.org/search/collection?keys=arthur%20murphy">Detroit Institute of Arts</a>. 10 works at <a href="https://www.nga.gov/artists/33826-arthur-george-murphy">National Gallery of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/arthur-murphy-3464">Smithsonian American Art Museum</a>. 1 work at <a href="https://whitney.org/artists/4067">Whitney Museum of American Art</a>. 119 images at <a href="https://art.gsa.gov/people/1862/arthur-g-murphy/objects/images?page=1">GSA</a>. Works Consulted: Arthur Millier, “Comfort and Security Mean Nothing to Creative Artist,” Los Angeles Times 10 Sep. 1933: 26; Kenton Robinson, “He Began To Draw, Then To See,” Hartford Courant 27 Dec. 1981: 23+; Steve Burkholder, “At 80, Artist Finds New Challenges in Early Subjects,” Hartford Courant 24 Jan. 1986: 56; Holland Cotter, “A Wanderer With an Eye For Textures of His Time,” New York Times 10 Sep 1993: 73 <a href="https://www.nytimes.com/1993/09/10/arts/review-art-a-wanderer-with-an-eye-for-textures-of-his-time.html">Link</a>. Contributor An entity responsible for making contributions to the resource Derrell, Emma (description) Cooper, Keh (biography) Helquist, Morgan (photography) Arthur G. Murphy Dancing Federal Art Project lithograph New Deal Museum