7 10 261 https://openvalley.org/files/original/f7903c72660e50322a0659a3f04b0cb7.JPG d0ff0ea3b4e0b3d3655fcf5b1eaa08f3 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 Watercolor Physical Dimensions The actual physical size of the original image 18.5 x 13.5 in. Condition: paper buckled 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 Still Life (Figured Cloth) Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource Precise outlines and imaginative color blending give this watercolor a distinctive appearance. It departs from most still lifes in giving a “ground-level” perspective of its subject matter—almost as a terrain. Fruit, flowers, and vegetables all make an appearance, along with a southwestern water vessel. Along the ground and as a sort of horizontal range are three, perhaps four patterned cloths against a gray-washed background. A note on the title: most New Deal Gallery records give the paintings title as “Still Life”; it’s not clear why the later title was added, and the frame doesn’t permit closer examination. About the Artist: Born in Gunma Prefecture, Japan, Nagai immigrated to the US in 1906, initially with a plan to study law but soon returning to his love of art—a grandfather and uncle both had been painters. In New York he studied at the Art Students’ League with <a href="https://en.wikipedia.org/wiki/Thomas_Hart_Benton_(painter)" target="_blank" rel="noopener">Thomas Hart Benton</a> for five years, whose influence can be seen in Nagai’s “Picnic” (1929) with its treatment of massy figures arranged in deep space. In 1928 the Brooklyn Daily Eagle’s art critic, Helen Appleton Read, singled out Nagai’s painting “Tea” as one of three “discoveries” from more than 1,000 exhibits at the Society of Independent Artists. He went on to exhibit at the Corcoran Gallery, Art Institute of Chicago, the Brooklyn Musuem of Art, and the ACA Gallery, among many venues. His “Japanese Landscape” appeared in a 1939 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Bena Frank, and Herman Copen also appeared. Many of In 1936 Nagai signed the Call for the <a href="https://en.wikipedia.org/wiki/American_Artists%27_Congress" target="_blank" rel="noopener">American Artists’ Congress</a>, an anti-fascist popular front organization. Near the end of his life Nagai and his artist wife Paula Rosen retired to Orlando, FL area. 1 work at the <a href="http://collection.whitney.org/artist/934/ThomasNagai" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-2" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nagai, Tomizo (“Thomas”), 1886-1966 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 212 Federal Art Project New Deal Gallery painting Tomizo "Thomas" Nagai Watercolor https://openvalley.org/files/original/ba9db1a5796eb82a4abf8c2885b9fed2.JPG 66709468715cb79a9487e5d8480002df 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 Engraving 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 Three Able Seamen Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Description An account of the resource This print’s obviously ironic title asks us to notice what flows into the void of unemployment—all the moments of time that remain to be filled. Three men stare into the near distance, fiddle with their fingers, or even empty a pebble from a shoe. This last gesture may reference a maritime tradition of throwing old boots into the wake of a departing ship so as to ensure safe passage back home. But in this stark monochrone linoprint, it’s not clear where home is for these men. 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>. 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18264 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 171 Bernard P. Schardt Federal Art Project Great Depression lithograph New Deal Gallery https://openvalley.org/files/original/2aada556b0457d10f9690402e2ed86e9.jpg 77863f0967fb4f0fadf783dce68ae903 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 Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt 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 Mexican Bric-a-Brac Description An account of the resource The range of bric-a-brac depicted here is quite broad: a blue glass bottle, a painted ceramic plate, a napkin and cloth, a pair of blue shoes, a flower, a magazine, and what appears to be an avocado. Attempting to chart an underlying symbolism, in the manner of traditional still lifes, is perhaps less important than its Mexican location. Assembled with seeming informality, each object has an American counterpart that would be less unfamiliar. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 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 1937-06 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18371 Format The file format, physical medium, or dimensions of the resource jpeg, 964 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 199 Federal Art Project Helen Winograd New Deal Gallery still life https://openvalley.org/files/original/4b9fa3410e00febae1206d1d260f345c.JPG b1efa3b4e3910d70de4234d86e9ca5a1 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 Physical Dimensions The actual physical size of the original image 20 x 16 in. Condition: chipped, surface dirt 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 Flowers and Fruits Description An account of the resource Winograd uses a post-impressionist framework to depict household objects and the geometry of their surrounding space. Shapes are disrupted by vertical lines (like the pears and pitchers) or become radically abstracted (like green leaves as diagonals). The painting’s vivid colors and casual domesticity keep it from appearing clinical; rather, like the title of a magazine partially visible at lower left, it manifests the “Art” of everyday vision. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18370 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 198 Federal Art Project Helen Winograd New Deal Gallery still life https://openvalley.org/files/original/2c11cea3dc262cfaad992225b113247d.jpg 5807e625b53e22ad13e7d43d26e20b23 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 Physical Dimensions The actual physical size of the original image 23.5 x 19.5 in. Condition: slightly cracked canvas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November Scene Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource The center of this landscape is a tree with gold and yellow leaves, a few just turning to orange. Nearby bushes already have dropped their leaves, allowing for views across a pond or river to the other shore, and mountains in the far distance. Everything except the foreground is painted in hues of blue, white, and green—the better to set off the blaze of color in front of us. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, then in 1913 teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 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 1936-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18235 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 142 Claude A. Patterson Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/bbbdd3b5c508af7c02e9d3f996057460.JPG 4e05bb649889fc1320100ca865ca1fd9 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 Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: torn, surface dirt 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 July Flowers Format The file format, physical medium, or dimensions of the resource jpeg, 957 KB Description An account of the resource This dramatic still life is created using bold brush strokes and skillful blending, combined with high-contrast lighting. Two vases—one of gladiolus, the other filled with yellow roses—sit upon a small table near a brick wall and arched window. A stem without a rose blossom lies alone, enigmatically. About the Artist: Born in St. Petersburg, Russia, Kadulin attended art schools in Moscow and Kiev, then turned to a career as a cartoonist for one of Petrograd’s leading newspapers. Postcard versions of his cartoons became very popular. His work seems to have been a mix of political and social satire—for example a “drunken series” or “student types”—and it seems likely that his irreverent sense of humor is what led him to flee the Soviet Union. At this point information becomes scarce. In 1924, five of Kadulin’s caricatures appeared in a New York Times story on <a href="https://nyti.ms/2S6b0ih" target="_blank" rel="noopener">“Festivals and Parades in Russia”</a>; lacerating images of (for example) a “Red Army Soldier in Full Regalia,” bottles of alcohol in each hand, suggest that he was deeply critical of the new regime. There is record of Kadulin being hired in 1926 by a new Tampa restaurant named Katinka to create interior and exterior wall murals using his talent for caricature. It’s quite possible that he lived in Tampa for a period: he traveled to Florida by way of Cuba in 1930, was married in Havana 1931, then traveled again to Florida 1932. Kadulin became a US citizen in 1938. As of 1942 he was living in New York City, then in New Rochelle as a commercial artist. 42 caricatures at <a href="https://commons.wikimedia.org/wiki/Category:Caricatures_by_Vladimir_Kadulin" target="_blank" rel="noopener">Wikimedia</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6" target="_blank" rel="noopener">FAP</a>.               Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132. Creator An entity primarily responsible for making the resource Kadulin, Vladimir Fedorovich, 1884-1957 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18187 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 094 Federal Art Project New Deal Gallery painting still life Vladimir Kadulin https://openvalley.org/files/original/2c4ecbe370f3e9fb47f5cd67da69925e.JPG 0da6179bc805164ea817662290da3967 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 Physical Dimensions The actual physical size of the original image 22 x 32 in. Condition: spotted, surface dirt 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 Copper Jug Format The file format, physical medium, or dimensions of the resource jpeg, 997 KB Description An account of the resource The objects in this still life are candidly imperfect: all the bananas have spots; the apples are mottled or appear to have bruises. Still, their colors are vibrant and the table is replete. More of Kallem’s attention has been devoted to less-than-perfect reflections, in ghostly shades upon a table or in the copper jug. Reflected in the jug, it appears that we see the painter in silhouette, with light coming in from a window over his right shoulder. About the Artist: Born in Philadelphia to immigrant parents, Kallem learned to paint from his father Morris, a portraitist (his brother was the sculptor <a href="http://www.terenchin.com/2015/12/16/herbert-kallem-1909-1994/" target="_blank" rel="noopener">Herbert Kallem</a>). He studied at the Pennsylvania Academy of the Fine Arts. At some point during the 1920s the family  moved to New York where Henry set up and likely lived in a studio. He became friends with modernist artists who have come to be called the “28th Street” group because they gathered at the Henry and David Rothman Frame Shop at that location. Like many other artists, Kallem’s subject matter during the Great Depression became more explicitly political; his paintings included “The Sweatshop,” “Subway Construction,” and “Mill Town”—the latter appearing in a 1939 show at the Federal Art Gallery with NDG artists Harold Baumbach, Bena Frank, and James Guy. Starting in 1938 he was part of a five-person group that called themselves the “New York Realists”: Kallem, Max Frankel, Herbert Kallem, <a href="https://americanart.si.edu/artist/morris-neuwirth-3522" target="_blank" rel="noopener">Morris Neuwirth</a>, and <a href="https://thejewishmuseum.org/collection/artist/morris-shulman-american-1912-1978" target="_blank" rel="noopener">Morris Shulman</a>. He also joined a working group of artists encouraging closer cooperation with the American Labor Party. During World War II Kallem worked as an aircraft factory toolmaker, then returned to painting. In a nationwide 1947 competition, his <a href="https://books.google.com/books?id=a0YEAAAAMBAJ&pg=PA103&dq=country+tennement+henry+kallem&hl=en&sa=X&ved=0ahUKEwjhzuSi_tXcAhUFmVkKHcTiBlIQ6AEIKzAA#v=onepage&q=country%20tennement%20henry%20kallem&f=false" target="_blank" rel="noopener">“Country Tenement”</a> was awarded first prize and prompted controversy due to this mainstreaming of abstract art. The controversy also may have been due to its gritty content, for Kallem said, “My idea was to show how I felt upon seeing this scene one evening in the country—all the people crowded into one building with all that space around”(“Prize”). His postwar work moved in the direction of formal abstraction and landscapes, the two not necessarily separate. In 1955, a review called his paintings “subtle, quiet affairs, in which he achieves movement and depth through relationships of graded tones and colors. The approach seems free and easy, but there is a lot more to his work than first meets the eye” (Driscoll). 2 works at <a href="http://collections.portlandmuseum.org/4DACTION/HANDLECGI/CTN3/" target="_blank" rel="noopener">Portland Museum of Art</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-9" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Edgar Driscoll, Jr., “Copley Society Presents Pleasing Members’ Show,” Boston Globe 9 Jan. 1955: 39; “Prize Art Satirizes the Housing Shortage,” New York Evening Post 30 Sept. 1945: 5 Creator An entity primarily responsible for making the resource Kallem, Henry, 1912-1985 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 Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18188 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 095 Federal Art Project Henry Kallem New Deal Gallery painting still life https://openvalley.org/files/original/06dd5bfa3fa47f6df8977e322947f5eb.jpg 8d7f4100596795ce6601920e4e526462 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 Engraving Physical Dimensions The actual physical size of the original image 15 x 7.5 in. Condition: surface dirt on glass 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 Oyster House (The Dock) Description An account of the resource We see a dock or port building with two ships moored. Jones uses ink sparingly, but cross-hatches aggressively to convey the dark paint of the dock and shadows on the water. For lighter objects, he implies more than illustrates shape through his clear mastery of weight and shadow—the water, the sky, and the grass are left as negative space—upon blank white paper, with only a few lines scattered to imply shape and texture. The mountains at the edge of the canvas, too, lose definition and shape, vanishing into loose lines towards the left, but remain stark as they fade out of view within frame. The dock building itself commands attention at the center of the canvas, it’s entrance face rounding out the right side of the composition, its dark shading balancing out the stark white of the smaller ship and the water. The contrast of the water, mountains, and dock is surprisingly uniform across the canvas, as Jones masterfully balances positive and negative space—he leaves enough blank to not let ink dominate the canvas. A note about the painting: for at least twenty-five years this etching has been listed as missing; it was re-located in April 2019. It probably depicts the <a href="https://portjeff.com/wp-content/gallery/business-historical-photos/2011-8-94.jpg" target="_blank" rel="noopener">Suwasset Oyster Company</a> in Port Jefferson, NY, which was destroyed by winter storms in 1934. About the Artist: Born in Manchester, NH, Jones studied painting at the Cowles Art School in Boston under <a href="https://en.wikipedia.org/wiki/Ernest_Lee_Major" target="_blank" rel="noopener">Ernest Major</a> and <a href="https://en.wikipedia.org/wiki/Joseph_DeCamp" target="_blank" rel="noopener">Joseph de Camp</a>. His early career involved commercial illustration for the publisher <a href="https://en.wikipedia.org/wiki/Frank_Munsey" target="_blank" rel="noopener">Frank A. Munsey</a>, an indication of that style during this period possibly shown in his whimsical illustrations for a children’s book called <a href="https://archive.org/details/monkeyshineslitt00hall" target="_blank" rel="noopener">Monkey Shines</a> (1904). Among the places where Jones’ work was exhibited include the Salmagundi Club (1907, 1917, 1929), the Panama Pacific International Exposition in San Francisco (1915), and the Brooklyn Museum of Art (1930-31). In addition to the etching housed at the NDG, Jones’ other work for the WPA appeared at a rotating exhibition in Patchogue, NY (1936) and a posthumous print exhibition at Keuka College, Penn Yan, NY (1941). From about 1933 to 1940, he taught art at the Stony Brook School for Boys, a Christian co-ed college preparatory school. He lived for many years in Port Jefferson, NY. 12 works at <a href="http://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=4598" target="_blank" rel="noopener">The Athenaeum</a>. 1 work at the <a href="https://artsbma.org/collection/misty-day-in-winter/" target="_blank" rel="noopener">Birmingham Museum of Art</a>. 1 work at the <a href="https://www.mfa.org/collections/search?search_api_views_fulltext=leon+foster+jones&title=&culture=&artist=&creditline=&accession=&provenance=&medium=" target="_blank" rel="noopener">Museum of Fine Arts, Boston</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-50" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Jones, Leon Foster, 1871-1940 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photogrphy) Vanamee, Nicholas (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Engraving Federal Art Project Green New Deal Leon Foster Jones New Deal Gallery https://openvalley.org/files/original/339e7d06f126454354216861be4dcaab.JPG 447133d54abf8e2e1d485295853e8aff 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 Monoprint 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 Small Inlet Format The file format, physical medium, or dimensions of the resource jpeg, 942 KB Description An account of the resource The size of this inlet isn’t clear because of perspectival ambiguitiess: if the two houses at left are modest in scale, then the boats across from them either are tiny or far in the distance. Regardless, in the distance we see perhaps three or four dozen homes surrounding a cozy body of water, gentle hills behind them. Another odd feature of the monoprint is the lush, green foliage in the trees at left compared to several others in a harsher hue. About the Artist: Born in Gunma Prefecture, Japan, Nagai immigrated to the US in 1906, initially with a plan to study law but soon returning to his love of art—a grandfather and uncle both had been painters. In New York he studied at the Art Students’ League with <a href="https://en.wikipedia.org/wiki/Thomas_Hart_Benton_(painter)" target="_blank" rel="noopener">Thomas Hart Benton</a> for five years, whose influence can be seen in Nagai’s “Picnic” (1929) with its treatment of massy figures arranged in deep space. In 1928 the Brooklyn Daily Eagle’s art critic, Helen Appleton Read, singled out Nagai’s painting “Tea” as one of three “discoveries” from more than 1,000 exhibits at the Society of Independent Artists. He went on to exhibit at the Corcoran Gallery, Art Institute of Chicago, the Brooklyn Musuem of Art, and the ACA Gallery, among many venues. His “Japanese Landscape” appeared in a 1939 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Bena Frank, and Herman Copen also appeared. Many of In 1936 Nagai signed the Call for the <a href="https://en.wikipedia.org/wiki/American_Artists%27_Congress" target="_blank" rel="noopener">American Artists’ Congress</a>, an anti-fascist popular front organization. Near the end of his life Nagai and his artist wife Paula Rosen retired to Orlando, FL area. 1 work at the <a href="http://collection.whitney.org/artist/934/ThomasNagai" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-2" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nagai, Tomizo (“Thomas”), 1886-1966 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 1935-1940 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18216 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 123 Federal Art Project Landscape Art New Deal Gallery Tomizo "Thomas" Nagai https://openvalley.org/files/original/3108cfcb9d495a9cdff75ad659d7d76a.jpg 6c353809ba6ed40d88d58893215ee13d 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 Watercolor painting Physical Dimensions The actual physical size of the original image 17.5 x 12.5 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 House on a Hill Format The file format, physical medium, or dimensions of the resource jpeg, 775 KB Description An account of the resource This scene at the edge of a forest is drawn using remarkably sparse details, for example a few brushstrokes evoking a vegetable garden, a house, or a hill. Much of Nakagawa’s attention has been devoted to dense and multicolored foliage at left and right—the only neighbors depicted here. The red object (or figure) in the woods isn’t clear. Sinuous unpainted and scraped lines are integral to the watercolor’s design. About the Artist: We haven’t located much reliable information about this artist. He exhibited his work at the Salons of America (1928), Chrysler Gallery (1932), and the Municipal Art Committee (1936). Ruth L. Benjamin described him as painting “portraits and still life, but seems to be at his best in landscape work” (Parnassus 7.5 [1935]: 15). He may have lived in Los Angeles beginning in the late 1930s. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-4" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nakagawa, Kikuta, b. 1888 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18217 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 124 Federal Art Project Kikuta Nakagawa Landscape Art New Deal Gallery Watercolor