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The painting captures the open fields of Wallkill on a spring day. Abernathy’s thick brush strokes depict a tree on the left side of the midground with mountains in the background. Beyond the tree is a tan field, its color suggesting a recent harvest, separated from green fields by wooden fencing. The shadow the tree casts suggests there is sun, but with the multitude of clouds, the day could be partly sunny.<br /><br /><span style="font-weight: 400;"><span style="text-decoration: underline;">About The Artist:</span> Born in Summerville, AR, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and</span><a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener"> <span style="font-weight: 400;">the Florida Female College</span></a><span style="font-weight: 400;">. At this last institution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (</span><i><span style="font-weight: 400;">The Weekly True Democrat</span></i><span style="font-weight: 400;"> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (</span><i><span style="font-weight: 400;">San Francisco Chronicle </span></i><span style="font-weight: 400;">26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a>
Abernathy, Inez, 1873-1956
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On a purely aesthetic level, this portrayal of rural farm life in autumn is quite clearly done in a painterly matter: quick brushstrokes with a specific choice to omit most detail. It can be assumed that the light-handed application of paint was a specific technique chosen to represent the image’s literal depiction of a calm day in autumn. In the context of its allocation to a tuberculosis sanatorium, the oak tree itself can be analyzed as a symbol of strength--a diagnosis of the disease in the 1930’s meant a slow death.<br /><br />
<p><span style="text-decoration: underline;">About the Artist: </span>Abernathy, Inez. (1873-1956) Born in Summerville, AR, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and the<a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener"> Florida Female College</a>. At this last institution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener"> FAP</a>.</p>
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Abernathy, Inez, 1873-1956
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Against New York's skyline in the background, people relax in boats upon a body of water. The colors are cooler, with lots of dark and bright greens, and also lots of blues. The boaters are painted in warmer colors, along with red, to make them stand out more. Abernathy's brushstrokes are thick and heavy, giving this painting a rough texture. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more images from <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a>.
Abernathy, Inez, 1873-1956
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We see a river flowing between two banks lined with trees. The trees are mostly bare however, they appear as they are going to start budding. The colors in this painting are cooler--blues and greens--but there is a hint of warm yellow in the lower left corner. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a>.
Abernathy, Inez, 1873-1956
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The depiction of the foreground illustrates a rural setting in the midst of an urbanizing town in the background – a changing sociocultural climate in New York. Abernathy uses a quick, painterly style to show that the brushstrokes are an instrumental part of the canvas, something purposeful given the context of her formal training. She exercises her education in the way she portrays the depth of the painting – the contrast between the two portrayals of different lifestyles emphasizes a changing direction among a rural discourse of life.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a><o:p></o:p>
Abernathy, Inez, 1873-1956
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An inscription on the reverse side of Abernathy's canvas identifies her location as somewhere near Wallkill, NY; more specific landmarks or even skylines cannot be discerned because the space here is so enclosing. Impressionistic splashes of fall color swirl around the sharper forms of tree trunks and branches. Patterns of foliage are reflected in the creek below, with gentle ripples creating a horizontal counterpart.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more images from <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a>.
Abernathy, Inez, 1873-1956
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A table supports a toppled paper bag of fruit, strewn directly on the table or on a white cloth. In the background is an empty vase. The wooden furniture is so shiny that fruit reflects off of its surfaces The light source is unclear, but a curtain in the background suggests there is probably a window which could be partially unshaded, thus providing the scene with light.<br /><br />
<p><span style="font-weight: 400;"><span style="text-decoration: underline;">About The Artist:</span> Born in Frostburg, MD, Abramson (whose first name sometimes is spelled Hirshel) studied at the Maryland Institute of Fine Arts and later in Paris with</span><a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Lhote" target="_blank" rel="noopener"> <span style="font-weight: 400;">André L’hote</span></a><span style="font-weight: 400;">. He painted in a Cumberland, MD studio before moving to New York City in 1931 where he showed at the Ainslee Galleries. A critic for the </span><i><span style="font-weight: 400;">New York </span></i><span style="font-weight: 400;">Times admired his work for incorporating “the best qualities of the L’hote Academy—architectonic composition and integrated color—into really fine canvases. His still-lifes, too, with the shimmering tones of cloth and fruit woven with contrapuntal into rich color fugues, justify the discipline of cubism” (</span><i><span style="font-weight: 400;">New York Times </span></i><span style="font-weight: 400;">19 June 1932: 25). 7 more images at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-6" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a></p>
Abramson, Hershel, d. 1969
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We look upon a remarkably minimalist still life--sixteen apples upon a wooden board or table--but by the time of Adler's painting they were highly charged objects due to the thousands of minimally employed apple vendors on New York streets during the Great Depression. Keeping this in mind, we see an insistence upon each apple being represented individually, and for that matter each row of wood laminated into the wooden board. Adler's light and colors are direct, with very little shadow.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in New York, Adler was the son of Russian immigrants—his father a dressmaker and eventual NDG artist Joseph Adler. Fred studied two years at National Academy of Design, then two more at the Art Students League with <a href="https://en.wikipedia.org/wiki/Raphael_Soyer" target="_blank" rel="noopener">Raphael Soyer</a>. At age twenty he was employed by the Federal Art Project and assigned to a Civilian Conservation Corps project in Milford, IA where he “sketch[ed] characteristic moments in camp life” (<em>Milford Mail</em> 6 Sept 1934: 2). In 1940 his “Still Life With Herring” was selected for a Musuem of Modern Art traveling exhibition called <a href="https://www.moma.org/calendar/exhibitions/2979?locale=en" target="_blank" rel="noopener">“35 Under 35.”</a> Along with NDG artists Herman Copen and Ben Delman, Adler’s painting “Avenue C market” was included in a 1941 show focused upon “Market Scenes,” and held at the USDA’s Surplus Marketing Department in New York. 1 painting at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-8" target="_blank" rel="noopener">Smithsonian Museum of American Art</a>. 8 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-30" target="_blank" rel="noopener">FAP</a>.
Adler, Fred[erick M], 1914-2012
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A simple grouping of teapot, cup and spoon, cherries and an orange becomes an exploration of color and form thanks to Adler's gauzy rendering. Neutral backgrounds of brown and tan set apart small placements of red and blue; a painting upon the wall echoes those two colors in more explicitly geometric forms.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: We haven’t located much reliable information about this artist. Born in Poltava, Russia (modern-day Ukraine) as Joseph Zaganchinsky, Adler immigrated to the US in 1907. Census records show him to have been a dressmaker, but obviously he seems to have painted as well. He was the father of NDG artist Fred Adler. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-9" target="_blank" rel="noopener">FAP</a>.
Adler, Joseph Louis, 1895-1975
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A cool colored, slightly impressionistic seascape, "Open Sea" displays the tumult and beauty of waves on the ocean juxtaposed with the serenity of passing clouds overhead. The artist uses the natural contrast between the blue and white colors to evoke mixed feelings of relaxation and suspense. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Odessa, Russia, Alexandrovich was trained in Belgium and France before immigrating to the US in 1925 (his citizenship sponsor was fellow marine artist <a href="http://www.askart.com/artist/Ragnar_Olson/102361/Ragnar_Olson.aspx" target="_blank" rel="noopener">Ragnar Olson</a>). At a 1939 show, his art was praised as “bringing to the painting of the sea a sympathetic understanding and a subtlety of expression that set his work apart....Unlike the majority of painters of the sea, he knows the value of mystery and suggestion, and yet with it all contrives to convey a sense of the ocean's resistless weight and might” (<em>New York Sun </em>29 April 1939: 12). 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-15" target="_blank" rel="noopener">FAP</a>.
Alexandrovich, Albert, b. 1904
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