1
10
208
-
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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." <br /><br />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.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil painting
Physical Dimensions
The actual physical size of the original image
20 X 16.5 in.
Condition: slightly spotted
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
Spring in Wallkill, NY
Description
An account of the resource
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>
Creator
An entity primarily responsible for making the resource
Abernathy, Inez, 1873-1956
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
1937
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Stern, Alison (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 #FA18096
Format
The file format, physical medium, or dimensions of the resource
jpeg, 894 KB
jpeg, 8.93 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
006
Federal Art Project
Inez Abernathy
New Deal Gallery
painting
-
https://openvalley.org/files/original/bcafd7bc6ef9bace8e69e868a4edae5d.jpg
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eb2dc7e24ef3ce0e35fa8fede168ffa5
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." <br /><br />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.<br /><br />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
20.5 x 16 in.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oak Tree
Description
An account of the resource
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>
<p style="margin: 0in; margin-bottom: .0001pt; line-height: 200%;"><br /><o:p></o:p></p>
Creator
An entity primarily responsible for making the resource
Abernathy, Inez, 1873-1956
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
1936-11
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (Photography)
Griffin, Michael (Biography)
Cooper, Ken (Biograpy)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Format
The file format, physical medium, or dimensions of the resource
jpeg, 866 KB
jpeg, 9.64
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
001
Abernathy, Inez
Landscape Art
New Deal Gallery
Oil on Canvas
painting
-
https://openvalley.org/files/original/26980819600ec86fa9479f0baba3d6a3.jpg
095a1fde52577e23bf530246ca097da5
https://openvalley.org/files/original/b2961ec886a3bc178015d5363971d86e.jpg
97cebce974e5bc32f4b1003b77aaae04
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." <br /><br />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.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil Painting
Physical Dimensions
The actual physical size of the original image
20 x 16 in.
Condition: pitted, surface dirt
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Lake Central Park
Creator
An entity primarily responsible for making the resource
Abernathy, Inez, 1873-1956
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
1937
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Jackson, Madison (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 #FA18093
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1 MB
jpeg, 8.7 MB
Type
The nature or genre of the resource
Still image
Description
An account of the resource
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>.
Identifier
An unambiguous reference to the resource within a given context
003
Federal Art Project
Inez Abernathy
New Deal Gallery
Oil Painting
-
https://openvalley.org/files/original/227ebd5bd721aefd340140b9d1c5d296.jpg
9bc03a71bfa0ed72d35c043aad91f62e
https://openvalley.org/files/original/b6bb0000bf5138a6a01352a3bc146a1d.JPG
c811df2087bb6d0f2abb528341a65f4c
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." <br /><br />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.<br /><br />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 15.5 in
Condition: surface dirt, tack mark upper right corner
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
Spring in Central Park
Creator
An entity primarily responsible for making the resource
Abernathy, Inez, 1873-1956
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
1936
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Jackson, Madison (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 #FA18095
Format
The file format, physical medium, or dimensions of the resource
jpeg, 929 KB
jpeg, 9.3 MB
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
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>.
Identifier
An unambiguous reference to the resource within a given context
005
Abernathy, Inez
Federal Art Project
New Deal Gallery
Oil Painting
-
https://openvalley.org/files/original/9256fe546c8d323e4a61ce531aab41b0.jpg
ef128dd820872e98b714797a697617a3
https://openvalley.org/files/original/fe81396e07db686b22f99073e2459b6b.JPG
d2b92e0f26326b22a16360ac65fe39ea
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." <br /><br />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.<br /><br />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
19.75 x 15.5 in.
Condition: paint chipped, surface dirt
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Blue and Gold
Description
An account of the resource
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>
Creator
An entity primarily responsible for making the resource
Abernathy, Inez, 1873-1956
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
1937-03-09
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (Photography)
Griffin, Michael (Biography)
Ken Cooper (Biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object # FA18092
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.2 MB
jpeg, 11.4 MB
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
002
Abernathy, Inez
Landscape Art
New Deal Gallery
Oil on Canvas
painting
-
https://openvalley.org/files/original/eb9837ba632c5b717d44d3d6583eb93c.JPG
59778becf84d2efe4f6913dc640b9243
https://openvalley.org/files/original/36caa2dc0adf5f2393d6381dec7ccc00.JPG
6662075375645973205e10cff7af5d71
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." <br /><br />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.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil painting
Physical Dimensions
The actual physical size of the original image
20 x 16 in.
Condition: peeled 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
October Afternoon
Creator
An entity primarily responsible for making the resource
Abernathy, Inez, 1873-1956
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
1936
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18094
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.1 MB
jpeg, 13.1 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
004
Description
An account of the resource
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>.
Federal Art Project
Inez Abernathy
New Deal Gallery
painting
Wallkill, NY
-
https://openvalley.org/files/original/c0f5dd4dc33e3dcfbd12e5abb5d6d18f.jpg
340852ca9a083215b0a51d3fee964bce
https://openvalley.org/files/original/78d4812edb59313ba08a96fb56da3a30.JPG
69928ff679de7000c26f74b1156750bb
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." <br /><br />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.<br /><br />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: surface dirt, marked with pen, unframed
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Still Life on a Table
Description
An account of the resource
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>
Creator
An entity primarily responsible for making the resource
Abramson, Hershel, d. 1969
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)
Stern, Alison (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 # FA18097
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.2 MB
jpeg, 12.4 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
007
Federal Art Project
hershel abramson
New Deal Gallery
painting
-
https://openvalley.org/files/original/6c32b83d659f45b0cc10c8d1e313dfdb.jpg
a8c949914e6e4eeaed3a24e01f822e3c
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." <br /><br />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.<br /><br />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
30 x 24 in.
Condition: small tear, 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
Apples
Description
An account of the resource
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>.
Creator
An entity primarily responsible for making the resource
Adler, Fred[erick M], 1914-2012
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
1937-10-20
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 #FA18099
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
009
Civilian Conservation Corps
Federal Art Project
Fred Adler
Joseph Adler
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/9c23757b8e10322f4c8abb74ea9564d2.jpg
c02b1809681c2276f170d27b25b8e9ee
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." <br /><br />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.<br /><br />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: cracking paint, crayon 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
Still Life in Red and Blue
Creator
An entity primarily responsible for making the resource
Adler, Joseph Louis, 1895-1975
Publisher
An entity responsible for making the resource available
Federal Art Project
Date
A point or period of time associated with an event in the lifecycle of the resource
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 #FA18100
Format
The file format, physical medium, or dimensions of the resource
jpeg, 795 KB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
010
Description
An account of the resource
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>.
Federal Art Project
Fred Adler
Joseph Adler
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/5318d5a6b43c163f59970925c57eede3.jpg
9b52f63f2f4baf5e5ec11348652f1604
https://openvalley.org/files/original/fdee0a271146ac86ac59b82341e66203.jpg
2ea068ce42c3cefd1fbf653fe2470d8b
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." <br /><br />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.<br /><br />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: chipped, stained, 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 Sea
Description
An account of the resource
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>.
Creator
An entity primarily responsible for making the resource
Alexandrovich, Albert, b. 1904
Date
A point or period of time associated with an event in the lifecycle of the resource
1939?
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Noel, Ricky (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 #FA18101
Format
The file format, physical medium, or dimensions of the resource
jpeg, 709 KB
jpeg, 3.5 MB
Type
The nature or genre of the resource
Still Image
Publisher
An entity responsible for making the resource available
Federal Art Project
Albert Alexandrovich
Federal Art Project
New Deal
New Deal Gallery
painting