9 10 261 https://openvalley.org/files/original/72d299548dc110f9a1b3da066064e54c.jpg 9baf94d5b1d41bd825b35830a0dfd841 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 Photograph Physical Dimensions The actual physical size of the original image Oil painting: 30 x 24 in. Photograph: 6 x 4 in. Condition: stolen 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 December in Venice Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Description An account of the resource In 2008 this painting, loaned for exhibition at the Mills Mansion, Mt. Morris, <a href="https://www.nbcwashington.com/investigations/Depression-Treasures-Hunting-for-WPA-Paintings-275523541.html" target="_blank" rel="noopener">was stolen</a> and has yet to be recovered. The digital image shown here has been scanned from a photographic print. Although the location of this bridge is not known—there are some 400 in Venice—it evokes a pleasing range of saturated and pale colors, sunlit highlights and shadowy walkways. On the canal we see a gondolier and three red and white pali da casada (“poles of the family”) marking a distinct location. Everything a view might want of Venice is here in Polowetski’s painting. About the Artist: Born in Bielsk, Poland, Polowetski immigrated to the US in 1892. He grew up in New York city amidst harrowing conditions; when ten years old and a ward of the Deborah Nursery and Child’s Protectory—which provided day care for poor working parents—Polowetski and two other boys were “locked in the cellar of the institution and after being flogged tied to gas pipes and left prisoners in the dark hole” (“He Flogged the Children”). Given this childhood his subsequent career is remarkable: at age sixteen he studied with <a href="https://en.wikipedia.org/wiki/Robert_Frederick_Blum" target="_blank" rel="noopener">Robert Frederick Blum</a> at the National Academy of Design, then in 1903 after receiving a scholarship with <a href="https://en.wikipedia.org/wiki/L%C3%A9on_Bonnat" target="_blank" rel="noopener">Léon Bonnat</a> at the École nationale supérieure des Beaux-Arts. In Paris <a href="https://www.tate.org.uk/art/research-publications/camden-town-group/chronology-r1107098" target="_blank" rel="noopener">he became friends</a> with painters like Bernard Gussow and Samuel Halpert, exhibited at the Salon d’Automne, and eventually maintained a studio up to and during the Great War before fleeing in 1915. Plowetski’s efforts at returning to France in 1919 reveal efforts on his behalf by fellow painters <a href="https://en.wikipedia.org/wiki/George_Elmer_Browne" target="_blank" rel="noopener">George Elmer Browne</a> and <a href="https://portsmouthhistorynotes.com/2017/04/07/oscar-miller-bristol-ferry-artist/" target="_blank" rel="noopener">Oscar Miller</a>. Polowetski was a member of the Salmagundi Club and, while in Paris, of the American Art Association. His vivid landscapes and portraits were exhibited in American venues like the Corcoran Gallery, the Salons of America, and the Pennsylvania Academy of the Fine Arts. In all likelihood he made his living as a portraitist, receiving commissions by bank officers, industrialists, university presidents, governors, and the like; among his FAP works is one of the pilot and explorer Floyd Bennett, for whom a New York airport was named. In 2008 Polowetski’s NDG painting “December in Venice,” loaned for exhibition at the Mills Mansion, Mt. Morris, <a href="https://www.nbcwashington.com/investigations/Depression-Treasures-Hunting-for-WPA-Paintings-275523541.html" target="_blank" rel="noopener">was stolen</a> and has yet to be recovered. After World War II Polowetski moved to Santa Fe and began painting in the American southwest, then lived the final years of his life in California. 1 work at the <a href="https://www.npg.org.uk/collections/search/person/mp07441/charles-ezekiel-polowetski?role=art" target="_blank" rel="noopener">National Portrait Gallery, UK</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-30" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Polowetski, Charles Ezekiel, 1884-1955 Publisher An entity responsible for making the resource available Federal Art Gallery 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 #FA18242 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 149 Charles Polowetski Federal Art Project New Deal Gallery painting Venice, Italy https://openvalley.org/files/original/ce01dbff627a52ae5ac5b5004ab74cd1.JPG a1c65c056fd13f09c602dfa890650fb8 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 11.5 x 16.5 in. Condition: paper buckled Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flowers and Fruit Format The file format, physical medium, or dimensions of the resource jpeg, 696 KB Description An account of the resource Some elements of this watercolor are abstract and patterned: the green leaves at left, the tablecloth, wallpaper background, and even the vase’s outline. Other elements, however, show careful attention to modeling and texture, like the orange. Palter seems to be allotting differing levels of detail in this extemporaneous composition: she retains her pencilled outlines and at times uses broad strokes; in certain places her attention focuses to verisimilitude. About the Artist: We haven’t located much reliable information about this artist. Palter graduated from Girls Commercial High School, Brooklyn, in 1929. Her paintings were exhibited in a 1938 FAP show in Flushing, NY along with NDG artist Henry Kallem. She married the abstract painter <a href="https://americanart.si.edu/artist/albert-swinden-4724">Albert Swinden</a>—also a <a href="https://livingnewdeal.org/artists/albert-swinden/">Federal Art Project artist</a>—and their daughter Alice Swinden Carter went on to become a sculptor in her own right. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-44">FAP</a>. Creator An entity primarily responsible for making the resource Palter, Rebecca, 1912-1998 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 #FA23837 Federal Art Project New Deal Gallery painting Rebecca Palter still life Watercolor https://openvalley.org/files/original/1645b45d6816dfbdfd716a1b285b67fe.JPG b39b4c13aa0c995f9c1721ce133fadd4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on Canvas Physical Dimensions The actual physical size of the original image 26 x 20 in. Condition: surface dirt, crayon or 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 Fountain, Central Park Description An account of the resource Depicted is the landmark Bethesda Fountain located in New York City's Central Park. The fountain is adorned by a bronze statue with small figures that appear to support the winged figure. Bethesda is a biblical reference to a pool that is believed to have had healing powers, so its use for a fountain's name has great significance. The warm colors and large brush strokes give this painting a sense of importance that is associated with being in Central Park--a location not far from Zucker's home in New York. About the Artist: Born in Radom, Poland, at age thirteen Zucker ran away from home, traveling by himself to study at the Bezalel Art School in Palestine. After serving with the Royal Fusilliers of England during World War I, he spent time in the Paris art scene before immigrating to the US in 1922. Here he first worked as a maker of fine jewelry; eventually, he was successful as a painter with studios in New York and Paris. Zucker counted as influences the French Romantics Pierre-Auguste Renoir and <a href="https://en.wikipedia.org/wiki/Jean-Antoine_Watteau" target="_blank" rel="noopener">Jean-Antoine Watteau</a>, along with contemporaries <a href="https://en.wikipedia.org/wiki/Maurice_Utrillo" target="_blank" rel="noopener">Maurice Utrillo</a> and <a href="https://en.wikipedia.org/wiki/Chaim_Soutine" target="_blank" rel="noopener">Chaim Soutine</a>. He observed that, in Europe, artists know that a landscape has been painted many times, but in America “I feel liberated, unburdened by the weight of artistic precedent” (Salpeter). Zucker’s work was shown at places like the Art Institute of Chicago, the Whitney Museum, and the Cheshire Gallery, as well as the Bonaparte and Paquereau Galleries in Paris. 5 more images at the <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-49" target="_blank" rel="noopener">FAP</a>; 1 statue at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-48" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Harry Salpeter, <a href="http://archive.esquire.com/article/1938/10/1/jacques-zucker-modern-romantic" target="_blank" rel="noopener">“Jacques Zucker: Modern Romantic,”</a> Esquire Oct. 1938: 59+. Dan Wolman, director, <a href="https://youtu.be/BceCvihjQ28" target="_blank" rel="noopener">Jacques Zucker: Modern Romantic</a> (film short). Creator An entity primarily responsible for making the resource Zucker, Jacques, 1900-1981 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Serbalik, John (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 #FA18376 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 204 allocations Central Park Federal Art Project fountain Jacques Zucker New Deal Gallery new york city New York, NY https://openvalley.org/files/original/9106a4238def5d93d0ae296133028215.JPG 398d5b9ae1dfb2b1753b5fa015bd747a https://openvalley.org/files/original/7b4c0dfef73462de8a63de7362632284.JPG 586c89731f0df85ba4705b91b0913cfa https://openvalley.org/files/original/224661772d8e6972898c024d6ab314d8.jpg 0448bed6d0970ab894e863acb72bce6b https://openvalley.org/files/original/d8d47ab526f8f27c8819f58487ae7a82.jpg 185ab701776a62304d7185061a3edcc9 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 paintin Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tunnel by the Hudson Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 17.8 MB jpeg, 363 KB Description An account of the resource Against a cool background of blue-grays and white, we see a hillside of innumerable colors flowing downhill in nearly a molten state. In contrast to Fastovsky’s general blending technique are several smaller clusters of intensely pointilized colors—at lower left, for example. Even a telephone pole draws upon this for its green insulators, and the dreamy fluidity of landscape, house, and rail infrastructure is very attractive. It's possible that the location for this painting is the Breakneck Ridge rail tunnel, in which case there may be a kind of hidden joke: the building shown is an access point down into the Catskill Aqueduct, whose waters cross from Storm King (on the west side of the Hudson) to Breakneck Ridge (on the east), by way of a deep tunnel underneath the river. About the Artist: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 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 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 #FA18148 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 058 Federal Art Project Hudson River Isaac Fastovsky landscape New Deal Gallery painting Railroads https://openvalley.org/files/original/9e5deaa3739a27a45c37fa4d550febc7.jpg ab28fa6f7feea7905fbdf6a75c881b4c 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: 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 Small Town, NY Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography, 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 #FA18374 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still image Description An account of the resource Although a train platform in the foreground bears the name “Small Town,” the frame of Yaghjian’s painting had referenced <a href="https://en.wikipedia.org/wiki/Beacon,_New_York" target="_blank" rel="noopener">Beacon, NY</a> before getting crossed out in favor of this more universal theme. We are invited to ascend a wooden stairway into a quaint town whose buildings are arrayed upon its hillside: a brick commercial building near the tracks, a church and more ornate homes higher up. Warm earthtones and green foliage predominate. Small traces of the forces that would transform such towns lurk at the corners of the painting, like telephone wires or an automobile at lower right. About the Artist: Born in Harpoot, Armenia, Yaghjian immigrated to the US with his family in 1907 and was raised in Providence, RI. He attended the Rhode Island School of Design on scholarship and received a BA in Fine Arts in 1930.  He then continued his studies with the Art Students League, where he met <a href="https://en.wikipedia.org/wiki/John_French_Sloan" target="_blank" rel="noopener">John French Sloan</a> and <a href="https://en.wikipedia.org/wiki/Stuart_Davis_(painter)" target="_blank" rel="noopener">Stuart Davis</a>, both significant influences upon his work. His work was exhibited at the Metropolitan Museum of Art, the Corcoran Gallery, the National Gallery, and many other venues; he was the subject of numerous solo shows. At the 1936 Whitney Biennial, Anita Brenner grouped him with artists like Edward Hopper and NDG artist Dorothy Varian in their use of colors that are “dominant in most American landscapes, intense, precise and small within great space and immense sky.” Some of his most important contributions came as an art teacher, initially for the Art Students League in New York (1938-1943), then briefly at the University of Missouri. In 1945 Yaghjian was hired to head the art faculty at the University of South Carolina, where he taught until retirement in 1972. He was known for painting scenes from everyday life, both in New York and in South Carolina; while he continually painted his surroundings, his style shifted throughout his career from realism to stylized abstraction to abstraction. He lived in Columbia for the rest of his life, where he still was dancing two nights a week at the age of 85. 1 work at the <a href="https://americanart.si.edu/artist/edmund-yaghjian-5506" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://gibbesmuseum.pastperfectonline.com/webobject/49EFFAFD-128B-45BC-BC3B-292859903974" target="_blank" rel="noopener">Gibbs Museum of Art</a>. 1 work at the <a href="https://chrysler.emuseum.com/search/Yaghjian" target="_blank" rel="noopener">Chrysler Museum</a> of Art. 1 work at the Metropolitan Museum of Art. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-33" target="_blank" rel="noopener">FAP</a>. <a href="http://digital.tcl.sc.edu/cdm/ref/collection/savage/id/127" target="_blank" rel="noopener">Oral history interview</a> at University of South Carolina. Sources Consulted: Anita Brenner, “Younger Generation at Whitney Biennial,” Brooklyn Daily Eagle 15 Nov. 1936: 10C; South Carolina State Museum, <a href="http://www.tfaoi.org/aa/7aa/7aa926.htm" target="_blank" rel="noopener">“Edmund Yaghjian: A Retrospective”</a> (16 March-16 September, 1997). Creator An entity primarily responsible for making the resource Yaghjian, Edmund, 1903-1997 Identifier An unambiguous reference to the resource within a given context 202 Beacon, NY Edmund Yaghjian Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/16d464a0152be0d3de3c302fde63ac8a.jpg da54fca17044ec4458fab85f1718f40e 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 18.25 x 21.25 in. Condition: peeling, small rip 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 Checkerboard Cloth Format The file format, physical medium, or dimensions of the resource jpeg, 859 KB Description An account of the resource Not rendered with perfectly accurate optics, Archer’s still life nevertheless is a creative study in perspective and visual planes. Upon a table covered by the eponymous checkboard-patterned cloth, a crystal decanter and copper teapot sit incongruously next to each other. They are doubled in a mirror, complicated by its beveled edge  and angled walls “behind” our point of view; viewer and painter alike have been effaced from the reflections. About the Artist: Archer grew up in Sea Cliff, NY, received his training at Yale University School of Fine Arts, and then worked in New York City during the 1930s as a commercial artist, placing works in publications like the <a href="https://www.saturdayeveningpost.com/artworks/?artwork-artist=robert-p-archer&artwork-year=&artwork-theme=" target="_blank" rel="noopener">Saturday Evening Post</a>, Colliers, and This Week. Archer’s painting “Approaching Storm” was selected for two traveling exhibitions sponsored by the Museum of Modern Art: “Mystery and Sentiment” in 1940, and then <a href="https://www.moma.org/documents/moma_catalogue_2903_300061995.pdf" target="_blank" rel="noopener">“Romantic Painting in America”</a> (1943-1944). During World War II, he was Art Director of the Army Education Program in the Philippines. After the war Archer, along with the marine artist Charles J. Lundgren, opened a studio in Roslyn, NY that combined exhibition space with evening art classes. 1 work at <a href="https://americanart.si.edu/artist/robert-p-archer-127" target="_blank" rel="noopener">Smithsonian Museum of American Art</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-31" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Archer, Robert P., 1905-? 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 #FA18112 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 022 Federal Art Project New Deal Gallery painting Robert P. Archer still life https://openvalley.org/files/original/27fe90298818ea09f77f1b435d48f0f9.jpg 88c7c9cd6bd95410dfef93ba2f6d932b 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 paper Physical Dimensions The actual physical size of the original image 24 x 18 in. Condition: needs remounting 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 Vase of Tulips Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource A photograph doesn’t do justice to Sarkadi’s deft use of color and texture upon his paper medium. Were the painting’s few splashes of white removed, we would see three stems of tulip, along with a bit of greenery, in a glass jar set inside of a bowl. The splashes do not add depth to the painting but rather prevent a tidiness that elsewhere is rejected in favor of speckled shadows and reflections, unfilled sketch lines, and (through the years) paper that has itself become wrinkled. About the Artist: Born in Budapest, Hungary, Sarkadi relocated first to London and then, in 1914, to the US. His artistic life began as a dramatist, writing one-act plays that spanned his time in both countries: Within Four Walls (1900), Children at Play (1907), The Line of Life (1916), The Gusher (1928), Fourflusher (1928), and The Angel (1929). One <a href="https://archive.org/details/withinfourwallsa00schuiala/page/n7" target="_blank" rel="noopener">published collection</a> of these plays, however, features illustrations that may be Sarkadi’s and would indicate a longstanding interest in the visual arts, although his painting career dates to the early 1930s. He also exhibited sculptures on more than one occasion, showing himself to be a multitalented artist. Sarkadi’s paintings were shown at the Balzac Gallery, Ainslie Galleries, and the American Artists Congress. His friend Willy Pogany, a fellow artist from Hungary, wrote how “it is strange that a man so saturated with transcendental philosophy antagonistic to matter, should take up painting as a means of expresssion...But with Sarkadi the process is different....Color attracts him just as much as form is evaded, and here we find that his instinctive choice of vehicle for the mysticism and yearning for limitless space is more than justified by the result” (New York Sun 10 May 1924: 6). 3 works at the Brooklyn Museum. 12 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-21" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Sarkadi-Schuller, Leo, 1879-1947 Publisher An entity responsible for making the resource available Federal Art Gallery 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 #FA18263 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 170 Federal Art Project Leo Sarkadi-Schuller New Deal Gallery painting still life https://openvalley.org/files/original/e1afcf265b4d323253c9cacbfb3aa83e.JPG f9efac7ca8d99ffeb4da6ba42a8c204b https://openvalley.org/files/original/3f1d7a7dd465ce6f333cadf784199a25.JPG 1c2584ed582c0e9594007dd8169038b9 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 25 in. Condition: chipped 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 Edge of the Garden Format The file format, physical medium, or dimensions of the resource jpeg, 885 KB jpeg, 10.3 MB Description An account of the resource At least two questions are implied by this painting’s title: which edge of the garden, and what is a garden? Due to a flattened plane and Sarkadi’s composition we see a row of hollyhocks and other tall flowers at the bottom of the canvas, with no indication of what lies between them and us; nor can we see what lies between them and houses further in the distance. A dense line of forest forms a backdrop to the homes, whose intriguing colors and patterns echo those of the flowers. Overhead, a tall tree on the forest’s “other” edge and a hint of blue sky. About the Artist: Born in Budapest, Hungary, Sarkadi relocated first to London and then, in 1914, to the US. His artistic life began as a dramatist, writing one-act plays that spanned his time in both countries: Within Four Walls (1900), Children at Play (1907), The Line of Life (1916), The Gusher (1928), Fourflusher (1928), and The Angel (1929). One <a href="https://archive.org/details/withinfourwallsa00schuiala/page/n7" target="_blank" rel="noopener">published collection</a> of these plays, however, features illustrations that may be Sarkadi’s and would indicate a longstanding interest in the visual arts, although his painting career dates to the early 1930s. He also exhibited sculptures on more than one occasion, showing himself to be a multitalented artist. Sarkadi’s paintings were shown at the Balzac Gallery, Ainslie Galleries, and the American Artists Congress. His friend Willy Pogany, a fellow artist from Hungary, wrote how “it is strange that a man so saturated with transcendental philosophy antagonistic to matter, should take up painting as a means of expresssion...But with Sarkadi the process is different....Color attracts him just as much as form is evaded, and here we find that his instinctive choice of vehicle for the mysticism and yearning for limitless space is more than justified by the result” (New York Sun 10 May 1924: 6). 3 works at the Brooklyn Museum. 12 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-21" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Sarkadi-Schuller, Leo, 1879-1947 Publisher An entity responsible for making the resource available Federal Art Gallery 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 #FA18262 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 169 Federal Art Project Leo Sarkadi-Schuller New Deal Gallery painting https://openvalley.org/files/original/73f92b533ba119ba0811e845462c73c9.JPG 89b11ee00b3afbab39865d6a04b6cb09 https://openvalley.org/files/original/789a15ae4b36833bbd0a745d91baef9c.JPG 03bf66ae4327ace0bb77de3890aca675 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 23.5 x 29.5 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 Open Road Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 13.3 MB Description An account of the resource This painting uses a curious system of perspective. Objects in the distance—like mountains, birds, a tall tree, or the sky above—appear more figurative and natural than those nearby. Closer by, where we might expect to see detail, are abstract streaks and blotches of color. In the near foreground, a walking traveler and companion dog are rendered as semi-transparent in relation to their surroundings. They are walking toward the crest of a hill, perhaps toward the suggestion of a red roof but more accurately into a circular portal. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. Creator An entity primarily responsible for making the resource Sabalauskas, Simon 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 #FA18261 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 168 Federal Art Project New Deal Gallery painting Simon Sabalauscas https://openvalley.org/files/original/e3557df93124ba6889d7b706cec4619f.JPG 048f3ab9bcd374ef73378fef3e1842bd https://openvalley.org/files/original/d035ee4338edc8910753a728a9b2f427.JPG 46b374626c0a52b86a28b3c3ed2b453d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 23 x 29.5 in. Condition: surface dirt, slightly peeling 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 Spring Tree Format The file format, physical medium, or dimensions of the resource jpeg, 976 KB jpeg, 13.8 MB Description An account of the resource Vivid colors are accentuated via the time of day at which this painting is set—either at sunrise or sunset—and by comparison to a pale blue sky. The titular “spring tree” probably is a cherry in bloom, but a taller one also seems to display blossoms. Sabalsuskas’ unusual portrait orientation emphasizes not only the trees’ verticality, but a pastoral scene in the foreground of grazing cattle. Several brushstrokes appear to take pleasure in color for its own sake. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. Creator An entity primarily responsible for making the resource Sabalauskas, Joseph 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 1937-02-02 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 #FA18258 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 165 Federal Art Project Joseph Sabalauscas New Deal Gallery painting