8 10 295 https://openvalley.org/files/original/1fcf5d209e71f3a950b62fa2b013541e.jpg 3ebf94a2c3030a48bd25123fe046f124 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 Physical Dimensions The actual physical size of the original image Image: 11.5 x 9.75 in. Framed: 21 x 17 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Balcony Format The file format, physical medium, or dimensions of the resource jpeg, 2.1 MB Description An account of the resource Anchel’s lithograph depicts a large balcony appearing to be located in a theater. Figures stand above and below it, all in groups except for one. Most of the figures hold happy or neutral expressions, whereas the lone figure is almost brooding. He looms over the edge of the balcony, looking below. The balcony and ceiling are not rendered in a uniform perspective; they curve and seem to create a bubble around the second floor. The linear quality of the piece parallels its architecture: railings, windows, and building edges create a geometric framework that contrasts with and surrounds the organic shapes of the human figures. Anchel draws our focus towards the private balcony, his line work flowing towards isolated box seats at lower right. The value of the figures is much darker than the rest of the work, emphasizing their faces against the background. This private section sits closer to the stage, in contrast to a bunched group, at lower left, on the theater’s lower level. “Balcony’s” asymmetry and theme of isolation may have resonated with feelings of uncertainty during this era, reflecting confusion and loneliness in a place that represents collective enjoyment. If “All the world’s a stage,” as Shakespeare suggested, we never see the drama to which Anchel’s audience is reacting. About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/search/anchel" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Also Anchel Abstracts: Neijna Sculpture Exhibit Opening” Miami Herald 8 Nov. 1959: 121. A special thank you to David Anchel for his website <a href="https://david-anchel.format.com/homepage-gallery" target="_blank" rel="noopener">The Art of Harold Anchel</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Pasiak, Olivia (description and biography) Helquist, Morgan (photography0 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 271 Type The nature or genre of the resource Still image Federal Art Project Harold Anchel lithograph New Deal Museum https://openvalley.org/files/original/458151059727d7faefe395e2bc0a2ea4.jpg ac53f27af5ee69e554fd97a00ba5ed76 https://openvalley.org/files/original/0734b16e39a9dff1d3f7c930d34164c3.jpg b17e327a682a6676630b9e13a6755f5c 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 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 Christmas Trees Creator An entity primarily responsible for making the resource Dwight, Mabel (1876-1955) Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg, 1.9 MB Description An account of the resource Several people gather Christmas trees in a snowy, urban setting. The foreground includes two men, a woman and a baby, a young child, and (incongruously) a cat all gathered around a pile of Christmas trees. In the background we see a butcher at work, with a woman and a child looking into the store’s window. Dwight’s use of tonal value helps the viewer differentiate Christmas trees in the foreground from those in the background, and the surrounding buildings. Her handling of form helps create a three-dimensional space that gives the trees and background contents shape: they’re desirable even to us. The scene is composed asymmetrically, with more negative space to the right and positive space to the left, filled with people and Christmas trees. The lack of an obvious focal point allows the viewer to understand a subtle disorder to the scene, encapsulated by citizens dragging large trees with children and pets running through the area. Dwight’s work provides a commentary on the natural world’s bounty being hauled into an industrialized urban setting—a seemingly prosperous one, at that. Outside of the frame, or perhaps hinted at via a shadowy figure at right, are Americans unable to afford the material accoutrements of Christmas.  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> 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 1939 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1203 Type The nature or genre of the resource Still image Artists Union Federal Art Project lithograph Mabel Dwight New Deal Museum Satire socialism https://openvalley.org/files/original/f1a2351b45a040feaf4a22d44b5240ee.jpg ecf410230d86390964eb37393f4dba44 https://openvalley.org/files/original/1d289b44cb43c1b8b95b52b99b3ec955.jpg 2f39ac13609db35ec343169e89ae06a2 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 24 x 30 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Autumn Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.7 MB Creator An entity primarily responsible for making the resource Rites, Marion B[ushanse] (1900 - ?) Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Harrington, Gwenyth Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 819 Description An account of the resource In Autumn Landscape, at first glance, the viewer appears to be standing on a riverbank, looking into a dense and active landscape. The foreground is filled with thick foliage, where leaves are depicted through repeating oval shapes and emphasized with strong, dark outlines. These energetic brushstrokes suggest movement, as if wind is passing through the trees. In the middle ground, partially hidden by the leaves, a wooden cabin and small boat with a fisherman come into view. Although obscured at first glance, these elements remain present and distinct, encouraging closer observation. In the background, the sky is soft and muted, providing contrast to the vivid colors of the surrounding foliage. Rites’ composition is evenly arranged, with trees and plants spread across the scene creating a calm and peaceful setting. The bright greens, oranges, and blues maintain their intensity throughout the painting, rather than fading into the distance. This approach reflects the influence of Paul Cézanne, particularly in the use of color to build form and create this seasonal scene. Furthermore, the dense layering of leaves and overlapping forms fills out nearly the entire picture, leaving little space to spare. Overall, the work presents an upbeat and immersive view into the nature of an organic Autumn Day. About the Artist Unfortunately, little information is known about this artist. He was born in 1900 in Ithaca, NY, the son of <a href="https://babel.hathitrust.org/cgi/pt?id=uc1.c2632388&seq=555&q1" target="_blank" rel="noopener">a renowned engineer</a> who had become wealthy from his patents. Rites’ parents separated, however, and his father died while Marion was still a teenager. He attended Ithaca High School and graduated from Cornell University in 1922. There are indications that he studied art in Paris and painted in Touraine, the Riviera, and Northern Africa (“Paintings”). His works were exhibited in 1932 at the <a href="https://www.mahj.org/en/decouvrir-collections-betsalel/galerie-de-la-renaissance-6585" target="_blank" rel="noopener">Galerie de la Renaissance</a> and received favorable mention for their cosmopolitanism and “painterly temperament” (Dictionaire). Rites was influenced by the French Impressionist <a href="https://www.nationalgallery.org.uk/artists/paul-cezanne" target="_blank" rel="noopener">Paul Cézanne</a>, including his bold brushstrokes; use of muted and earthy tones, greens and blues; and his thick application of paint. Along with another artist, David Dorfman, Rites illustrated a 1941 WPA children’s book titled <a href="https://searchworks.stanford.edu/view/in00000129820" target="_blank" rel="noopener">Tales of Old New York,</a> published by the New York Board of Education. Little is known about this artist beyond the works he left behind. His date of death is also unknown. 4 works at the <a href="https://art.gsa.gov/artworks/725/still-life-with-cigarette?ctx=937f730ef375fb1b8257b0d4fd42b9f8faf23648&idx=307" target="_blank" rel="noopener">U.S. General Services Administration</a>. 2 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-18" target="_blank" rel="noopener">FAP</a>. Works Consulted: “Paintings of Marion B. Rites, Former Ithaca Resident, Are Favorably Mentioned Abroad,” Ithaca Journal 19 Dec. 1933: 7; <a href="https://archive.org/details/bwb_S0-BKW-886/page/211/mode/1up" target="_blank" rel="noopener">Dictionaire Biographique des Artistes Contemporains</a> (1934). Date A point or period of time associated with an event in the lifecycle of the resource ca. 1937 Type The nature or genre of the resource Still image Federal Art Project Landscape Art Marion Rites New Deal Museum https://openvalley.org/files/original/48e7bcfa6581e61a0f5291af7907cdc9.jpeg ae2eaae5d6b5d35d31b6c699038c74ee https://openvalley.org/files/original/0bec7e8390671ebb257edcaf63eed45c.jpg c7d820da3a3a8967119136a01822b194 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 Woven Paper Physical Dimensions The actual physical size of the original image Canvas size: 13.5 x 20 in; Framed: 23.5 x 29.5 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 Angler Description An account of the resource A large and elegant boat dominates this scene, immediately drawing the viewer’s attention. Those few people visible in Jacks' print, scattered around the docks, appear almost ghost-like, as if incorporated into the backdrop. Their small number and otherworldly quality give the setting a sense of emptiness, making the composition feel mythical or even ominous. The Angler sits at a dock that is otherwise barren, and it is the only vessel present, further emphasizing the isolation of the scene. Jacks' use of space in her lithograph is particularly interesting, as it highlights the relationship between different elements. Small figures on an empty dock draw attention to the surrounding desolate space, creating a tension between isolation and the expansive landscape. The boat’s overwhelming size compared to the people suggests visual weight, whereas the figures appear vulnerable and hidden in the background, reinforcing the boat’s symbolic importance. The Angler itself floats on what appears to be windy water, with small, calm ripples outlined in sharp black. Overhead, the sky shifts from light to dark, moving from the top left to the right side and guiding the viewer’s gaze across the scene. This shift in tone moves the mood from calm to ominous.  About the Artist Mabel Wellington Jack was born in 1899 in New York City. During her early life, she lived in Ohio and traveled frequently with her parents on one of the last showboats to sail down the Mississippi River.  She was educated in Midwest private schools, where she received several art scholarships. From roughly 1935 to 1943, she worked as an artist for the New York Art Project and the Federal Art Project (FAP), also creating artworks for the New View Hospital and Home during this time. She was mainly a printmaker who experimented with bold and dramatic nautical themes during the WPA era. Like another of her works from this period, <a href="https://commons.wikimedia.org/wiki/File:Swan_dive_-_Mabel_W._Jack._LCCN2002706837.jpg#/media/File:Swan_dive_-_Mabel_W._Jack._LCCN2002706837_(cropped).jpg" target="_blank" rel="noopener">Swan Dive</a> (1935), they can be appreciated as “representative of a new world into which women were propelling themselves” (Adams and Keene 54). During World War II, Jack was involved with the Red Mask Players, a Red Cross Circuit troupe, where she designed scenery and danced in performances, although further details of her roles are not recorded. Jack was married twice during her life, though not much is known about her late husbands; she preferred to use her maiden name publicly. In 1946, she moved from Greenwich Village to Staten Island, NY. There, she became an active member of the <a href="https://southshoreartistsgroup.org/" target="_blank" rel="noopener">South Shore Artist Group</a>, an important art community that showcased both amateur and professional artists through frequent exhibitions and outdoor shows. She regularly exhibited her work at the Staten Island Museum and in various outdoor events, eventually earning the distinction of honorary lifetime member. Before her passing, she lived at Richmondtown Treasure House and later at Annadale Beach. Mabel Wellington Jack passed away at the age of 80 on July 12, 1975. 5 works at the <a href="https://americanart.si.edu/artist/mabel-wellington-jack-2415" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at the <a href="https://collection.artbma.org/people/9691/mabel-wellington-jack/objects?_gl=1*17m8k71*_ga*MzkxMDk0NTgwLjE3NzIxMjc4NDI.*_ga_Z89PXM15R3*czE3NzIxMjc4NDIkbzEkZzEkdDE3NzIxMjc4NTAkajUyJGwwJGgw" target="_blank" rel="noopener">Baltimore Museum of Art</a>. 2 works at the <a href="https://www.nga.gov/artists/33591-mabel-wellington-jack" target="_blank" rel="noopener">National Gallery of Art in Washington</a>. 1 work at the <a href="https://www.fdrlibrary.org/art-detail" target="_blank" rel="noopener">Franklin D. Roosevelt Presidential Library and Museum</a>. 1 work at the <a href="https://artmuseum.princeton.edu/art/collections/objects/3674" target="_blank" rel="noopener">Princeton University art Museum</a>. 1 image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-38">FAP</a>. 8 images at <a href="https://art.gsa.gov/people/1654/mabel-wellington-jack/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Miss Mabel W. Jack, Island Artist,” Staten Island Advance 23 July 1970: 19; Katherine H. Adams and Michael L. Keene, Women, Art, and the New Deal (2015). Creator An entity primarily responsible for making the resource Jack, Mabel Wellington (1899-1975) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1936 Contributor An entity responsible for making contributions to the resource Harrington, Gwenyth Source A related resource from which the described resource is derived New Deal Museum, Mt. Morris NY Object #FA 48 Format The file format, physical medium, or dimensions of the resource jpeg, 693 KB Type The nature or genre of the resource Still image Federal Art Project lithograph Mabel Wellington Jack New Deal New Deal Museum https://openvalley.org/files/original/6f048599f59059044e87e5d8d856231e.jpg 89088f561b1008eecb1d7000b7a014a9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Magazine cover illustration Physical Dimensions The actual physical size of the original image 8.5 x 11 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Christening the Ship Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Macfadden Publications Date A point or period of time associated with an event in the lifecycle of the resource 1942-05-02 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Liberty 2 May 1942: cover Courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 2.4 MB Description An account of the resource A tightly framed composition focuses upon the traditional christening of a new ship, whose size can only be inferred. Unlike a peacetime ceremony, the dignitaries are military and the occasion is serious. Using a limited palette of saturated colors--red, white, and blue almost required--Ronay finds the opportunity to incorporate small details like the anchor pattern on a young woman's dress or the admiral's decorations. Despite the needs of wartime production, Ronay lightens the circumstances with some mild satire: below where a champagne bottle is about to be broken, we see a funnel to catch its precious contents. It's an acknowledgement of wartime scarcity and rationing, along with a stubbornness not to suspend familiar ceremonies. Type The nature or genre of the resource Still image Cartoon Federal Art Project Liberty Magazine Stephen Ronay World War II https://openvalley.org/files/original/f7c461efb01d8f7ca540478bcfad8736.jpg 46f4db0469968547890c5012953a86b7 https://openvalley.org/files/original/4e87cb9447179265730c1295d9d01651.jpg 5d6d1ffc5b4b920c0ba050a2938c17bb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image 13 x 10 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sickbed Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.7 MB Description An account of the resource We witness a body in pain through a narrowly focused, irregular aperature. The setting, it's implied, is some kind of institutional hospital or sanatorium: a thin mattress upon a spartan bedframe; garments stripped of pattern or individuality. Whoever shares this space is unclear because the background is nearly black and this patient occupies almost all of the frame. The body itself, like its surroundings, lacks individuating detail; even this person's gender is unclear. What is certain, though, is their suffering. Anchel's contour lines create mass that almost resembles topological terrain--especially around the arm and torso. His background in dance gives him special insight as to the power of posture and gesture. The person, who has become a patient, writhes in an unimaginable state, using a nearly impossible hand gesture that is highlighted as the print's focal point. About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/search/anchel" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Also Anchel Abstracts: Neijna Sculpture Exhibit Opening” Miami Herald 8 Nov. 1959: 121. A special thank you to David Anchel for his website <a href="https://david-anchel.format.com/homepage-gallery" target="_blank" rel="noopener">The Art of Harold Anchel</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1103 Type The nature or genre of the resource Still image Federal Art Project Harold Anchel Hospital lithograph New Deal Museum https://openvalley.org/files/original/60116d2063f310228b5c4a1f7649438f.jpg 86901aefabc296293bcaefa5ca2dd9f4 https://openvalley.org/files/original/6ef503275b5d2f2ecc1d35fa7483a42d.jpg 675bdabf9108d178ba63ce8eeda92e15 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas painting Physical Dimensions The actual physical size of the original image 36 x 24 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Life Boat Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 1.4 MB Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert], 1900 - 1983 Description An account of the resource The Life Boat depicts a small wooden boat in stormy waters, nineteen survivors from an unknown disaster. Some passengers look out at the water, others grasp onto each other, and one figure holds an oar. One person pulls another out of the water. The lifeboat takes up most of the canvas, and is located at a diagonal across the center, with the bow of the boat pointed towards the bottom left corner and the stern to the top right corner. The boat with its inhabitants are the only forms in the painting, coming right up to the edge of the canvas. The painting is filled with movement, from the crashing waves to the drama of a figure being pulled out of the water and the passengers with their arms raised. The background of the painting is a dark blue grey of a stormy sky, while the waves have lots of light blue and white, showing the surge created by the storm. Most of the passengers wear white and red, making them stand out from the blues, greys, and browns of the background. Ronay’s brushstrokes are visible and contribute to the perilous look to the water. The passengers’ faces are minimally detailed, only creating the impression of eyes, noses, and mouths. Overall, everything in this painting contributes to a sense of drama and tension, reminiscent of Winslow Homer’s <a href="https://commons.wikimedia.org/wiki/File:Winslow_Homer,_American_-_The_Life_Line_-_Google_Art_Project.jpg#/media/File:Winslow_Homer,_American_-_The_Life_Line_-_Google_Art_Project.jpg">The Life Line</a> (1884), as well as Géricault’s <a href="https://en.wikipedia.org/wiki/The_Raft_of_the_Medusa#/media/File:JEAN_LOUIS_TH%C3%89ODORE_G%C3%89RICAULT_-_La_Balsa_de_la_Medusa_(Museo_del_Louvre,_1818-19).jpg">Raft of the Medusa</a> (1819), though Ronay’s painting is much less graphic in content, portraying a scene where the audience can believe everyone is safe, rather than the harsh realities of what might have actually happened. It’s not difficult to envision The Life Boat as an allegory upon America’s social contract during the Great Depression. About the Artist Stephen R. Ronay was born in Arad, Hungary (now Romania) in 1900. He attended the Royal Academy of Design in Budapest, and moved to the United States sometime after that, around 1925, becoming a citizen in 1930. He resided in New York City and Long Island for most of his career, and at some point, he attended the National Academy of Design. Eventually, he moved to Delray Beach, Florida until his death in 1983. His works appeared at the MoMA, Parrish Art Museum, the Art Institute of Chicago, and the Corcoran Gallery, as well as solo exhibitions around New York City and later in Florida. Ronay was a painter, sculptor and lecturer, but most of his remaining viewable works were created as a cartoonist and commercial illustrator. A mordant cartoon for <a href="https://michaelmaslin.com/tuesday-spill-better-late-than-never-w-bradley-a-1933-new-yorker-cartoonist-added-to-the-a-z/">The New Yorker</a> in 1939 makes for an interesting comparison with The Life Boat. In 1940 he created three humorously chaotic <a href="https://openvalley.org/items/show/2185">advertisements</a> the New York Telephone Company, which encouraged calls back home while on vacation. During World War II he created surreal and gently whimsical covers for Liberty magazine (<a href="https://openvalley.org/items/show/2091">1</a>, <a href="https://openvalley.org/items/show/2098">2</a>) and <a href="https://openvalley.org/items/show/2092">Collier’s</a>. In a gentler vein, Ronay provided the illustrations for Edna N. Brown’s book for children entitled How Many Miles to Babylon? (1941). During the 1950s and ‘60s, he continued to create commercial art and exhibit his paintings. One review of a 1966 show used his painting “Van Gogh in Long Island” to make broader claims about that artist’s influence upon Ronay (Margold). 1 work at <a href="https://weisman.emuseum.com/objects/531/race-track?ctx=e62d78ce5b055af0ea7b8d0c24eb7122bccb01a8&idx=0">Weisman Art Museum</a>. 5 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-34">FAP</a>. Work Consulted: Jane Margold, “it’s Motherly Art Whistler Never Could’ve Done,” Newsday 1 July 1966: 83. Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Singer, Ella (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 404 Type The nature or genre of the resource Still image Federal Art Project New Deal Gallery painting Stephen Ronay Théodore Géricault Winslow Homer https://openvalley.org/files/original/0c7e37b15f015e8553da046a470d3204.jpg 8fb605d4ab6728646cdbfd0a2548c2dc https://openvalley.org/files/original/365ce135b6bef9a1ce764b316ac8e339.jpg d4b12206adf2da7ad6dbe9be17a82418 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas painting Physical Dimensions The actual physical size of the original image 50 x 30 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Wizard of Oz Description An account of the resource The Wizard of Oz by Ruth Harper is an oil painting that visually interprets the world created by L. Frank Baum. The composition centers on a young female figure, likely Dorothy Gale, surrounded by a wide array of characters and animals drawn from multiple Oz narratives. Among them are recognizable figures such as the Tin Woodman and Cowardly Lion, as well as more unusual presences like the Saw-Horse, Princess Ozma, Tik-Tok, and even small piglets, all arranged together in a single, imaginative scene. The painting makes strong use of gem-toned colors, particularly gold and emerald green, which visually reference key elements of the Oz setting like the Emerald City. The emerald green around the painting suggests a proscenium curtain drawing open, inviting the viewer to escape along with Dorothy. Harper’s dense gathering of characters, almost like an “all-star” cast, produces a sense of childlike wonder while also creating a dreamlike, layered environment. While the original Oz stories have often been interpreted as political allegories tied to late 19th-century economic debates and the struggles leading into the Great Depression, it remains uncertain whether Harper intentionally emphasized these meanings. Instead, her painting can be more confidently understood as embracing a surreal, imaginative quality, blending multiple narrative moments into a single fantastical vision. Through this approach, Harper’s work offers viewers a form of escapism, using familiar literary figures and rich symbolism to construct a world that contrasts with the hardships of the Depression-era context in which it was created. About the Artist What we know of Ruth Harper, as an artist, is that of a whimsical style influenced by fables and fairytales. She was born 1883 in Melbourn, Cambridgeshire, England; her family immigrated in 1889 to Ogden, NY—probably due to farming opportunities on the part of her father, James. Harper graduated in 1906 from Brockport Normal School, by which time she had married Frank Austin (continuing to use Harper for her artistic work). She spent most of her life as an art teacher in the Yonkers, NY school district. In 1936 she received a commission from the Federal Art Project painting a large mural for a kindergarten classroom, located above its fireplace in those earlier times. The mural’s composition—of Cinderella and her castle at its center, surrounded by a metaverse of fairy tale characters—anticipates her later painting The Wizard of Oz (1941). Both works stand out within the context of the Great Depression for their imaginative and uplifting qualities, offering a sense of escapism and creativity during an otherwise difficult period. More recently, The Wizard of Oz was unexpectedly discovered in Schenectady, NY, as part of an investigation by the General Services Administration. The painting’s owner reported purchasing it years earlier from a junk store for a small sum, adding an element of mystery to its provenance. This case, along with dozens of others, highlights the importance of the GSA’s Office of Inspector General for recovering <a href="https://www.gsaig.gov/wpa-artwork-gallery">New Deal art</a> that is still owned by the public. Works Consulted: “Murals by Artists of WPA to Decorate Schools, Library” (Yonkers Herald Statesman 23 Mar. 1936: 5); US General Services Administration, Office Of Inspector General, WPA Artwork Recovery--New York City Schools (File Number: 122200049, 27 June 2024) <a href="https://www.governmentattic.org/58docs/GSAoigSelInvests2021-2024.pdf">Courtesy of governmentattic.org</a> Creator An entity primarily responsible for making the resource Harper, Ruth (1883 - 1975) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1941 Contributor An entity responsible for making contributions to the resource White, Ava (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 27779 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.1 MB Type The nature or genre of the resource Still image Federal Art Project General Services Administration New Deal Museum Ruth Harper The Wizard of Oz https://openvalley.org/files/original/cc34139b4f2e79ef6d08b86e2dd52541.jpg ca65b0e2847714b3948fad49c5e9328c https://openvalley.org/files/original/515a9f0f3b555f5a7467fe84b230123c.jpg dec36e3f41232109ae36e41e7bf346fc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas painting Physical Dimensions The actual physical size of the original image 29 1/4 x 35 3/8 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hendrik Hudson Bridge Description An account of the resource We behold an arch bridge under construction in a seemingly non-urban setting, its steel ribs elevated over gray flowing water underneath—perhaps indicating that a large boat has just passed underneath. The area surrounding the bridge contains greens that contrast the industrial aspects of the bridge itself, but we also see large buildings in the background. Color is an important element of this piece. Compared to <a href="https://en.wikipedia.org/wiki/Henry_Hudson_Bridge#/media/File:Henry_Hudson_Bridge_HH_RAS_6_19_1936.jpg" target="_blank" rel="noopener">photographic records</a> of the Hudson construction, De Felipe’s painting seems to be an parable of industrialization, shown through color contrast. The orange of the bridge and buildings versus the green of the trees in the background is juxtaposes industrial structures and natural life. The gray values at the top of Felipe’s painting indicate a moving cloud of smoke that further provides juxtaposition of the natural and industrial worlds. This disparity is also expressed through the sharp lines of the bridge that abruptly cut through the natural background. The piece provokes the viewer to consider the glaring imposition of industrialization on the natural world. The contrast between the bridge in the foreground and the natural world surrounding it indicate a misplacement of industrial life. Originally painted in the 1930s, this piece is likely a commentary on the era of industrial expansion in America. Note: In 2023, the General Services Administration’s Office of Inspector General <a href="https://www.gsaig.gov/sites/default/files/semiannual-reports/GSA-OIG-SAR-Spring-2024.pdf">recovered this painting</a> and returned it to the New Deal Museum in Mount Morris, NY. About the Artist: Juan de Felipe was born in Guanajuato, Mexico in 1904. He then travelled from Juarez to New York City in 1919, where he would remain for much of his life. During his time in New York, he was recognized in galleries and received awards. He won the Art Students’ League Fellowship from the <a href="https://brooklynrail.org/2019/04/artonic/Louis-Comfort-Tiffany-Foundation/" target="_blank" rel="noopener">Tiffany Foundation</a> in 1929, which provided living quarters and facilities for easel painters. After he received the fellowship, he took part in the annual exhibition of the Society of Independent Artists in New York City in 1930. Evidence of his presence in the New York art scene reappears in 1937 when he took part in two exhibitions: a show sponsored by the left-wing Artists’ Union at the New School for Social Research; and the Pink Slips Over Culture exhibition in 1937, which showed pieces from artists who had been fired from the Federal Art Project—many for lacking U.S. citizenship (. This reminds us that de Felipe likely encountered discrimination throughout his career, for example in 1930 a New Yorker critic calling him their “favorite Primitive” (Pemberton). By 1937, pressures for cutting the Federal Art Project became prominent, with over 600 New York artists removed from the relief program. In response, the Artists’ Union organized sit-ins to protest program cuts, including those who took part in cultural projects. Years earlier, de Felipe’s first opportunities had come through the Society of Independent Artists, which advocated for a “no judge, no prize” acceptance criteria where all art submitted to the organization was accepted no matter the artist’s experience or success. Today, virtually all of his art is lost to history. <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-5" target="_blank" rel="noopener">1 image at FAP.</a> Works Consulted: Margaret Breuning, “Group Exhibitions Feature the Week and Indicate Closing of Art Season” (New York Evening Post 11 May 1929); Digital Museum of the History of Japanese in NY, “September 1937 Exhibition of Asian Artists Excluded from the WPA” <a href="https://www.historyofjapaneseinny.org/japanese-artists-during-the-prewar-period-in-new-york-city/stories/chapter-6-american-artists-congress-and-new-york-civic-art-exhibition/visit-exhibition-1936-1940/december-1937-in-defense-of-world-democracy-an-exhibition-dedicated-to-the-people-of-spain/" target="_blank" rel="noopener">Link</a>; Jacob Kainen, “Dismissed Artists Give ‘Pink Slip’ Exhibition” (Daily Worker 24 July 1937: 7) <a href="https://archive.org/details/per_daily-worker_daily-worker_1937-07-24_14_176/page/n6/mode/1up" target="_blank" rel="noopener">Link</a>; Jerome Klein, “The Critic Takes a Glance Around the Galleries” (New York Post 3 June 1937); Henry McBridge, “Grand Central Palace Well Suited for Their Display” (The New York Sun 8 Mar. 1930); Elizabeth McCausland, “Save the Arts Projects” (The Nation, 17 Jul. 1937); Gerland M. Monroe, “Artists on the Barricades: The Militant Artists Union Treats with the New Deal" <a href="https://www.darkmatterarchives.net/wp-content/uploads/2011/11/MonroeAAAJ1978.pdf" target="_blank" rel="noopener">Link</a>; New York Art Resources Consortium, “The Avant-Garde and the Society of Independent Artists” <a href="https://gildedage2.omeka.net/exhibits/show/highlights/movements/avantgarde">Link</a>; “News and Reviews of Books,” New York Sun 28 May 1930); Murdock Pemberton, “Metropolitan Mexicans” (New Yorker 1 Nov. 1930: 47-48) <a href="https://www.newyorker.com/magazine/1930/11/01/metropolitan-mexicans-fireworks-by-miro-the-popular-and-the-also-ran">Link</a>. Creator An entity primarily responsible for making the resource De Felipe, Juan (1904-?) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1942 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 27875 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.6 MB Type The nature or genre of the resource Still image Artists Union Federal Art Project Hendrik Hudson Bridge Juan de Felipe New Deal Museum painting https://openvalley.org/files/original/48fd2f614ece27a8def643ca14e38169.jpg 7ab1dadda86b123327d518f2c95c4e0d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Magazine cover Physical Dimensions The actual physical size of the original image 8.5 x 11 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Collier's Cover Art Description An account of the resource Three months before Japan's attack on Pearl Harbor, and direct US involvement in World War II, military mobilization was impacting many walks of American life. Here, a satirical cover juxtaposes the scale of an ice cream man--and the simpler life he symbolized--to massive tanks and planes. A pair of eyes peeping out from the tank suggest that the soldier prefers those peaceful times, as well. Stephen R. Ronay was a painter supported by the Federal Art Project during the 1930s, but he was equally adept at gently satirical cartoons like this and another one for the magazine eight months later. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert] , 1900-1983 Publisher An entity responsible for making the resource available Crowell-Collier Publishing Date A point or period of time associated with an event in the lifecycle of the resource 1941-08-30 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Collier's 108.9 (30 Aug. 1941): cover <a href="https://archive.org/details/colliers108julspri/page/n496/mode/1up" target="_blank" rel="noopener">Courtesy Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 928 KB Type The nature or genre of the resource Still image Cartoon Collier's Federal Art Project Stephen Ronay World War II