8 10 261 https://openvalley.org/files/original/4ed4256055e3d10807dedc6efb128262.JPG 2f867add77e2682608a492ceec474327 https://openvalley.org/files/original/e2c7ede03a080416bbb9c9ec1108fb78.JPG 0943063409e737da5ba45bb827501f62 https://openvalley.org/files/original/b9a3059576be5c40eb3341a99d20a2f5.jpg 5bfea24ead300e47859757f03d917e46 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 19.5 x 23.5 in. Condition: stained, pencil marks 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 Midsummer Day Description An account of the resource From the edge of a lake or slow-moving river, we look across to see several houses built at water’s edge. Using a palette similar to his other New Deal Gallery paintings, Patterson depicts a freshness normally associated with springtime: there appear to be yellow flowers in bloom along the shoreline, and mountains in the distance show no traces of snow. 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; along with his teaching posts are frequent mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York, 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 at the Des Moines Women’s Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude, (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 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (Photography) Anderson, Justin (Biography) Cooper, Ken (Biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18234 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1. MB jpeg, 8.9 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 141 Claude A. Patterson Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/210d516c09d27718e9f9beef258dd461.JPG b1ef0805781cfdd6c9f55071ded55d7b https://openvalley.org/files/original/02d7a0f967615e7243fa69007ee9bdce.JPG 493ac12901b055e7bd80d403eef7b67f 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 13 x 21 in. Condition: surface dirt, scratched slightly 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 American Wood Cock Description An account of the resource A pair of woodcocks is pictured somewhat outside of their preferred grassy habitat, beside a cozy opening in a tree trunk. Although they often are associated with spring, the presence of freshly fallen leaves seems to indicate a moment just prior to their migration away from this scene. Hand-written at the bottom of the watercolor are Nakamizo’s poetic words: “A game bird that is not distrubed by the agriculture. Bird would come silently some April night, and from it then would disappear some October.” About the Artist: Born in Fukui Prefecture, Japan, Nakamizo—whose name sometimes was spelled “Fugi”—immigrated to the US in 1907, living in Grand Rapids, MI and working as a decorator. He later moved to New York and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Frank_DuMond" target="_blank" rel="noopener">Frank DuMond</a> and <a href="https://en.wikipedia.org/wiki/Joseph_Pennell" target="_blank" rel="noopener">Joseph Pennell</a>. During the early 1920s, he appears to have created an etching of the medical researcher Dr. Hideyo Noguchi that hung in the Nippon Club, New York (Piper). By the 1930s he was fairly well known, especially for his etchings of birds, and exhibited at places like the League Gallery (1933), Montross Gallery (1934), the Brooklyn Museum (1935), the Art Institute of Chicago (1935); and the Carl Fischer Gallery (1936). In 1936 he contributed photographs and illustrations to feminist author Baroness Shidzue Ishimoto’s East Way, West Way: A Modern Japanese Girlhood. In 1943, Nakamizo’s etching “Emblem of Strength and Courage” was chosen for a national exhibition sponsored by the group Artists for Victory; this painting of <a href="https://www.loc.gov/item/2003672396/" target="_blank" rel="noopener">an American eagle</a> surrounded by warplanes may have been ironic, since <a href="https://2.americanart.si.edu/pr/library/2010/gaman/gaman_checklist.pdf" target="_blank" rel="noopener">some sources</a> place him at a Japanese internment camp during World War II. 2 works at <a href="https://americanart.si.edu/artist/fugi-nakamizo-3485" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at <a href="https://emuseum1.as.miami.edu/people/1489/fuji-nakamizo/objects" target="_blank" rel="noopener">Lowe Art Museum</a>. 6 works at <a href="http://digitalarchives.queenslibrary.org/search/browse/%2A?fq%5B0%5D=sm_relation%3AQueens%20Library%20New%20Deal%20Art%20Project%20Artwork&f%5B0%5D=sm_creator%3AFuji%20Nakamizo" target="_blank" rel="noopener">Queens Library</a>. 1 work at the <a href="https://www.nga.gov/collection/art-object-page.145773.html" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-5" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Jean Piper, “Scientist Acts Like Human Dynamo,” Brooklyn Daily Eagle 6 Mar. 1927: 85; Ellen G. Landau, <a href="https://archive.org/details/artistsforvictor00land/page/84?q=Nakamizo" target="_blank" rel="noopener">Artists for Victory: An Exhibition Catalog</a> (Library of Congress, 1983). Creator An entity primarily responsible for making the resource Nakamizo, Fuji, 1889-1950 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 1937-08-24 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 #FA18219 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 10 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 126 Federal Art Project Fuji Nakamizo New Deal Gallery painting Watercolor https://openvalley.org/files/original/aa8bd4fed3c3f7aaeca1d7dbf96f5ae4.JPG 522bce62143e211fc242d295a221ab49 https://openvalley.org/files/original/b9dbbc1e6f6e453d5f5d58901fdf2dd3.JPG 1b93833950e4c2f8ad53f863d4b8fdd8 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 24 x 30 in. Condition: small tears, pin holes 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 Leeds Bridge Format The file format, physical medium, or dimensions of the resource jpeg, 961 KB jpeg, 12 MB Description An account of the resource Portions of the stone bridge depicted here date to 1760, when a wooden structure over Catskill Creek (in Greene County) collapsed; the rest was completed in 1792 and remains standing today. Lomoff renders virtually no straight lines in his painting, whose natural features all appear to be in gently waving motion—arguably including the bridge itself. Foliage grows on the structure, its stones are the same color as those in the river bed, and its arches subtly echo those of trees and mountains in the distance. Still waters create a reflection whose effect is to create a pair of portals through to some other side. About the Artist: Born in Sevastpool, Russia, Lomoff traveled to the US in 1912 and immigrated for good in 1925, where he found employment as (among other jobs) a sign painter. His Futurist-influenced works like “Mystery” and “Legend of Atlantis” began to appear in group shows by the late 1920s. Lomoff’s exhibited numerous times with the Society of Independent Artists between the mid-1920s and early 1940s. In 1934, as part of the Public Works of Art Project, he painted a mural titled “Nursery Tales” in the Children’s Hopital on Charity Island (now named Roosevelt Island). A visitor noted that “Upon a single panel you will often find as many as three or four artists working at the same time in a spirit of unimpeachable cooperation...the old guild idea, adapted to modern usage” (Jewell). In 1937, amidst Congressional cuts to the Federal Arts Project, he was among those painters  showing at a “Pink Slip Exhibition” in New York City. Subsequently, “Toilers of the Sea” appeared at the Brooklyn Museum (1943), and he was part of an innovative 1946 exhibit at Loew’s Mayfair Theatre in Times Square—which had been organized following Thomas Hart Benton’s statement that art should be in public places and not “buried in mausoleum-like art galleries.” A 1971 retrospective of his painting might well describe his NDG landscape: “The mystic element became strong, rocks and hills taking on human form, until each animistic landscape was alive with the impress of dark figures” (O’Doherty). 10 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/4052/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-19" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Edward Alden Jewell, “The Waxing Mural Tide,” New York Times 19 August 1934: 133; Brian O’Doherty, “Dual Show at Riverside Museum,” New York Times 7 June 1961: 45. Creator An entity primarily responsible for making the resource Lomoff, Joseph, 1899-1956 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 #FA18199 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 106 Catskill Creek Federal Art Project Joseph Lomoff Landscape Art Leeds Bridge New Deal Gallery painting https://openvalley.org/files/original/097be0b3931c34d2fe186b031ac45cec.JPG d0e7d73cb6fc329b4966bd7ea76c71f8 https://openvalley.org/files/original/5f739c6466d75ca45dc06c8eb04ffac5.jpg a064fe78ce52ce404073cd3a8917c0bb 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: flaking paint, 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 Peonies Description An account of the resource The focus of the still life painting is a vase of multicolored peonies. Spector shows skillful creation of the 3D geometric forms of the flower petals and vase, with a light source coming from the bottom right. The background is unusual in its abstraction, it suggests the idea of a corner of a room. It uses the same color palette as the flowers, with thin paint and visible brush strokes. About the Artist: About the Artist: Little is known about George Spector. He was a Russian immigrant to the United States and lived in the New York City area. Between 1913 and 1914 he got a diploma from the Cooper Union Night School of Art and received recognition for the category “Drawing from Life.” Given Spector's grasp of detail and three dimensional modeling, it seems possible that he had formal art training prior to the Cooper Union. He exhibited at the Salons of America in 1926 and 1927. 2 works at the <a href="https://www.nga.gov/collection/artist-info.8083.html?artobj_artistId=8083&sortOrder=CHRONOLOGICAL&pageNumber=1&lastFacet=sortOrder" target="_blank" rel="noopener">Index of American Design</a>. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-35" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Spector, George 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) McCrohan, Niamh (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18271 Format The file format, physical medium, or dimensions of the resource jpeg, 934 KB jpeg, 4.4 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 178 Federal Art Project George Spector New Deal Gallery painting still life https://openvalley.org/files/original/552760dde42f537f810cc5240215d37e.JPG b043669d5c3e2290df667e46a5dcc24e 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 21.5 x 17.5 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 Fruit and Drapery Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource This complex still life plays with how the natural world makes its way into artistic forms and representation. A grouping of fruit at upper left is echoed in the fabric’s shapes at lower right, as with the bell pepper’s distinctive shape. A pear at middle right is easy to overlook because its colors blend in. Meanwhile, a ceramic teapot is painted with its own colors and floral designs (referenced in another fabric). There are three distinct pieces of cloth, whose patterns multiply by reversal and draping. In the background is either a painting of sky upon the wall, or Kovner’s painted sky for this composition. About the Artist: Born in Rogachov, Russia, Kovner—who painted under the name “Saul”—immigrated with his parents in either in 1911 or 1912 to New York. He studied there at the National Academy of Design with <a href="https://en.wikipedia.org/wiki/Charles_Webster_Hawthorne" target="_blank" rel="noopener">Charles Hawthorne</a> and <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a>. Kovner then set up a studio near Central Park, whose gregarious crowds seem to have influenced many of his works, regardless of their unflinching looks at poverty. In 1935, Kovner was one of three WPA artists assisting James Michael Newell on <a href="https://livingnewdeal.org/projects/evander-childs-high-school-mural-bronx-ny/" target="_blank" rel="noopener">The Evolution of Western Civilization</a>—a massive, 12-panel fresco at Evander Childs High School in the Bronx. Kovner moved to Burbank, CA in the late 1940s and remained there until his death. 6 works at <a href="https://americanart.si.edu/artist/saul-kovner-2702" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://www.dia.org/art/collection?keys=kovner&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener">Detroit Institute of Arts</a>. 1 work at <a href="http://collection.whitney.org/object/4903" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 3 works at <a href="https://www.nga.gov/collection-search-result.html?artist=Kovner%2C%20Saul" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at the <a href="https://gallery.newarkmuseum.org/media/view/Objects/3073519/595685?t:state:flow=6f524d60-9569-439c-b346-e757c9208e43" target="_blank" rel="noopener">Newark Museum</a>. 1 work at <a href="https://artmuseum.princeton.edu/collections/objects/3676" target="_blank" rel="noopener">Princeton University Art Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-8" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Kovner, Saul, 1904-1982 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 #FA18192 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 099 Federal Art Project New Deal Gallery painting Saul Kovner still life https://openvalley.org/files/original/5d18dd0544eb9d8ab0f77e3335cfd23a.JPG dfddf0b6b8e22862a4b6153a3c41dcd0 https://openvalley.org/files/original/2334f01a05b2013028973f9885c31a7b.JPG fd6d7e73840fd4f4a343a4f49843b583 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 29.5 x 23.5 in. Condition: canvas 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 Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 805 KB jpeg, 14.2 MB Description An account of the resource Under a pale sky, we look uphill along a crooked line of split-rail fences and melting snow toward a pair of dormant trees and farm buildings. Bolton’s close attention to Catskill landscapes is apparent in his treatment of patterns in melting snow; his training in sculpture gives the saturated drifts convincing solidity. Interestingly, he paints one of the buildings and the hillside using a virtually identical color, as if to draw greater attention to forms. Poking up through the snow are what appear to be plant shoots in the same color. About the Artist: Born in Wallingford, CT, Bolton studied sculpture at Yale’s School of Fine Artis beginning in 1913. After visiting a friend in Woodstock, Bolton concluded it was where he belonged; his emphasis changed to the visual arts, although still retaining a sense of form and mass that was one of his work’s most distinctive characteristics. Over the years he was productive in painting, woodcuts, linoprints, and lithography. His work was exhibited in fine arts venues like the Corcoran Gallery and the Art Institute of Chicago while still retaining popular appeal—for example, self-published collections of Christmas cards. During many years of Woodstock Artists Association shows, his work appeared alongside NDG artists like Erna Lang, John Nichols, and Jo Rollo. In 1937 he assisted Charles Rosen in the <a href="https://livingnewdeal.org/projects/post-office-mural-beacon-ny/" target="_blank" rel="noopener">painting of several murals</a> for the Beacon, NY post office. 8 works at the <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Bolton%2C%20Clarence/field/creatb/mode/exact/conn/and" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 9 works at the <a href="https://gallery.newarkmuseum.org/view/people/asitem/Objects@2526656/0/displayName-asc?t:state:flow=90cd978a-9309-40ba-b9bb-40a1b492ae24" target="_blank" rel="noopener">Newark Museum</a>. 2 works at the Metropolitan Museum of Art. Creator An entity primarily responsible for making the resource Bolton, Clarence [Wheeler], 1893-1962 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource 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 #FA18872 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 210 Clarence Bolton Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/0bb9e1cf759585ea60957c5038a6de8d.JPG 5e0f72f200d1538a07841a1922cbdb38 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: slight tear, 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 Bavarian Group Creator An entity primarily responsible for making the resource Morton, Jay 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 #FA18211 Description An account of the resource Somewhat of an outlier among the New Deal Gallery paintings, Morton’s composition follows in a tradition of European genre painting. We see a cozily circumscribed group of four people in traditional clothing, gathered under a pool of light and surrounded by darkness. A pitcher sits upon the table, although drinking does not appear to be the reason for this gathering. Two of the group are musicians, immersed in blissful concentration upon their instruments; two others enjoy as listeners. Morgan’s dramatic lighting and earth-brown tones are a genre convention, but the woman’s bright red earring belongs to a different world. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you’re able to help. Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 118 Federal Art Project Jay Morton Music New Deal Gallery painting https://openvalley.org/files/original/0599b1f4a3d14d934b4ae0de242b1a0c.JPG ca003be989254c7e9515a40bbd3c1742 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 18 x 22 in. Condition: surface dirt, cracked paint, flaking, stained & torn 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 Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource Against a backdrop of muted, almost murky tones in brown, green, and tan, we see a still life of flowers in an earthenware jar along with various fruits. Their colors likewise are subdued; golds, reds, and oranges are illuminated by autumnal light in this pensive composition. About the Artist: We haven’t been able to locate much reliable information about this artist. Born Sneier Zemachson in Sulwalki, Lithuania, he immigrated to Toledo, OH in 1910 and became a US citizen around 1939. He was the son of respected liturgical composer Simon Zemachson, and his brother Arnold became one in his own right while living in America; Samuel later became a caretaker and editor of their work. He studied at the National Academy of design and was awarded a prize for his still lifes in 1925. His “Still Life” was purchased by the city of Albany, NY in 1936 through the Federal Art Program. For an unexplained reason, there is 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-40" target="_blank" rel="noopener">FAP</a> in the name of his son Paul—who at that time was less than a year old. Creator An entity primarily responsible for making the resource Zemachson, Samuel, 1902-1987 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 1937-04-27 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 #FA18375 Federal Art Project New Deal Gallery painting Samuel Zemachson still life https://openvalley.org/files/original/c22c1d4b30c4fc47dbb0c40e1e01e6b1.JPG 6002121380f12eddf4cff8c5232562da 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 10.5 x 7.5 in. Condition: paper buckling, 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 The Ox Wagon, Mexico Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource One of several prints Ximenez created for the Associated American Artists gallery in New York, this artfully composed scene manages to fit several elements of Mexican culture into its frame. Upon cobblestone streets and against the wall of a building, a heavy wagon with wooden wheels carries a bundle of wood. It is pulled by two mottled oxen, driven by a man wearing a serape and sombrero. Although the serape’s bold design catches the eye, it’s only one of several patterns gathered here. About the Artist: Born in Mexico, Ximenez studied at the Bellas Artes while supporting himself as a commercial artist. He immigrated to the US in 1923 and married the daughter of famous concert pianist Maria Carreras two years later. For a brief time Ximenez was the subject of tabloid fascination after her parents, he charged, tricked her into traveling to the US so as to marry a wealthier America (Davis). In 1930 he was working as a cartoonist in New York, then shortly after that must have moved west to pursue employment. As of 1935, Ximenez had been working four years as an animator in the Hollywood studio of <a href="https://en.wikipedia.org/wiki/Fleischer_Studios" target="_blank" rel="noopener">Max Fleischer</a> and was exploring the establishment of his own in Mexico (Motion Picture Daily 7 Aug. 1935: 10). Apparently this did not work out, because he exhibited his FAP-sponsored work was exhibited at the Brooklyn Academy of Music (1936) and an Associated American Artists traveling show during 1937. 4 more works at the <a href="https://www.nga.gov/collection/artist-info.34152.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 more work at the <a href="https://art.famsf.org/alfredo-ximenez/fruit-vendor-m%C3%A9xico-19633024789" target="_blank" rel="noopener">Fine Art Museums of San Francisco</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-32" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Forrest Davis, “Parents Stole Bride, Says Artist” (New York Daily News 13 April 1928: 514). Creator An entity primarily responsible for making the resource Ximenez, Alfredo, 1903-2000? 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 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 #FA18373 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 201 Alfredo Ximenez Engraving Federal Art Project New Deal Gallery https://openvalley.org/files/original/db4698a917430da0e48e11615a92e03b.JPG 6bf16a929a9fcd42f66447bdaf559a0b 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: 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 Lilies Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource From slightly above a table, we look down upon a vase of trumpet lilies playing in all directions, their green foliage lush. A dark background adds dramatic contrast the white lilies. Next to the vase is a figure wearing a helmet or headress with a red jewel. About the Artist: There are conflicting, possibly invented details surrounding the life of this colorful artist. Born in England to a Spanish father and English mother, her birth name was Mable Alice Mary Azue; her stated birth date ranges between 1896 and 1901. According to a 1951 newspaper feature, her mother was killed during a 1914 German bombing raid of London, then the teenager’s education was sponsored by a soldier named George W. Witten, who married her a year later when she was sixteen. Col. Witten’s own story—of running away from home to become a soldier of fortune, fighting in the Boer War, plotting to overthrow Venezuela, publishing exposes of fraudulent stock transactions—has its own interests, not least his profession as writer-adventurer (Hooper, “Soldier”). Bunty Witten’s life as an artist included study in New York with Michel Jacobs and fashion designer Ethel Traphagen, then briefly at Académie Colarossi in Paris. Her work included commercial art, interior design, and book illustration. A charming illustration for Jack O’Brien’s <a href="https://openvalley.org/items/show/1332" target="_blank" rel="noopener">Rip Darcy, Adventurer (1938)</a> shows her talent for portraiture, which included several well-known figures: Gen. Robert Lee Bullard and the aviators Amelia Earhart and Jessie “Chubbie” Miller. As of the late 1930s she and her husband, Col. George W. Witten, had relocated to St. Petersburg, FL. Sources Consulted: Paul Hooper, “The Vista That Hides the View,” Tampa Tribune 18 Nov. 1951: 45; Paul Hooper, “Soldier of Fortune Finally Reaches ‘Journey’s End,’” Tampa Tribune 15 June 1952: 46; Lilian Blackstone, “Artist and Husband Forget Their Proposed Trip to Guatemala as Soon as They Reach Here,” Tampa Bay Times 30 April 1932: 14. Creator An entity primarily responsible for making the resource Witten, Bunty, 1894-1968 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 #FA18372 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 200 Bunty Witten Federal Art Project New Deal Gallery still life