1 10 1386 https://openvalley.org/files/original/647091752be8a76b691c3157d41f6025.jpg 5acabb1d6e0c482e627c30ab7f3cc1e1 https://openvalley.org/files/original/a0735f59460ac1cd77f853cd5358b38b.jpg 619c09e02fe99d7ac7e3f39a9e6bb7ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas painting Physical Dimensions The actual physical size of the original image Canvas: 35 x 28 1/2 in. Frame: 41 x 34 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 House by the Water Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg, 1.4 MB Description An account of the resource Note: title was given by General Services Administration for the purposes of labeling; Noble's orignal title is unknown We see a house beside a calm body of water, bordered by trees and shoreline. Noble emphasizes tranquility and stability by placing the house in the midground, where it reflects softly in the water’s natural light. A curved walkway makes the painting fascinating, since it leads to small boats that symbolize a quiet waterway to escape from the modern noise. Industrialization is deliberately avoided in the painting, emphasizing a quieter and more traditional rural setting. Earthy greens, browns, and muted blues are used in the palette to create a quiet rural atmosphere. The brushwork is controlled in the foliage and water, giving the scene a calm, deliberate quality. Loose strokes appear as well, but they do not disrupt the overall stillness. The house is rendered with firmer lines, grounding the composition and emphasizing the theme of shelter and domestic security. Painted during the Great Depression, the work reflects a period of economic crisis that encouraged Americans to view the landscape as a site of resilience. Noble’s viewers feel a sense of stability since they are seeing an idealized home that’s connected to nature. Its placement in a public collection aligns with the New Deal’s goals of making art accessible and uplifting everyday Americans. Creator An entity primarily responsible for making the resource Noble, Carl E. 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 1934 Contributor An entity responsible for making contributions to the resource Taylor, Nadia (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 821 Type The nature or genre of the resource Still image Carl E. Noble Federal Arts Project New Deal Museum painting https://openvalley.org/files/original/67edbfd67869fef81d60efb140a8db1a.jpg 0c5ae992e33cf6078f6a7b3eb95c77d3 https://openvalley.org/files/original/a33c2a3b160b80b78e4f2e9b12b5b2db.jpg 63210cd51d6cc1b8a2ee02dcc6e00999 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 Drypoint on paper Physical Dimensions The actual physical size of the original image Image: 15 x 11 in. Framed: 25 1/2 x 21 3/4 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 Near Kingston Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 692 KB Creator An entity primarily responsible for making the resource Blanch, Arnold (1896 - 1968) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1940 Contributor An entity responsible for making contributions to the resource Rivera, Dominc (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 184 Description An account of the resource A rural landscape near Kingston, NY is structured to guide a viewer's eye from foreground into the middle distance through a gently curving route or boundary line, creating depth by progressively reducing detail as the land recedes. The image relies on value contrast and line to organize space: darker masses (tree trunks, corn shocks, and rooflines) anchor the middle ground, while lighter passages suggest open fields and atmospheric conditions. The drypoint technique contributes an airy, foglike quality to the surroundings. Architectural elements, such as a farmhouse and outbuildings, situate the landscape as inhabited, not strictlly “wild” scenery. The farm does not appear to be deserted, either, still a viable operation set against a smokestack in the distant city. Arnold's mood is quiet and restrained; rather than dramatic action, his print emphasizes place, structure, and everyday continuity, aligning with the era's interest in depicting the American Scene. Arnold Blanch Drypoint Federal Art Project Kingston, NY New Deal Museum https://openvalley.org/files/original/482331416227ee5746ec3275b058c88e.jpg bfd27bf44f4adda8d165a27d5b7ce43c https://openvalley.org/files/original/cc06479904d352c427b23f257036308a.jpg 2e8423c763a5618ef98eca0202e4b775 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 Color lithograph Physical Dimensions The actual physical size of the original image Window: 14 1/4 x 12 1/4 in. Sheet: 17 x 14 3/4 in. Mat: 19 1/4 x 17 1/8 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New for Old Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 939 KB Description An account of the resource New for Old is a color lithograph, showing buildings on a street and a crane-like machine. There are what looks like building materials next to the machine. The buildings’ proportions feel slightly off, just enough where they seem to bend a little. Though the focal point would seem to be the construction, but the viewer does not get a good view of the construction itself, as there is a part of a wall still standing, and a dirt pile where the building materials are, along with the body of the crane machine. There is no movement in the print—no figures actively working on the construction site, or people on the street. The colors are muted yellow and blue, created an aged, washed-out effect on the print. The only dark part of the print is the bottom right corner where the building materials and dirt pile are. The print overall has an unsettling feeling to it, devoid of any living things and its washed-out color. It might suggest that perhaps this construction is not a good thing, because of the dark only around the building materials and the emptiness. It might make the audience wonder what the “old” was that is getting replaced, and what the replacement is. Though when compared to a similar print, Burke’s Delousing, which has a darker atmosphere and connotation to the title (“delousing” meaning to get rid of lice or other parasitic insects), New for Old seems to be a more positive—while still eerie—depiction of change and construction. About the Artist A pioneer in screen printing, Leonard Pytlak was born in 1910 in Newark, New Jersey. He attended the Newark School of Fine and Industrial Art, and the Art Students League in New York. Pytlak specialized in printmaking, both serigraphs and lithographs. He also painted, creating a mural for Greenpoint Hospital in Brooklyn, New York, under the WPA in the 30s. In 1938, he worked for the FAP in New York, in the Graphic Section, part of the silkscreen unit. He was a founding member of the National Serigraph Society and was elected twice as president. He had several solo exhibitions in the 40s, and was awarded the Guggenheim Fellowship in 1941 to investigate new techniques in color lithography and serigraphy. He also won awards from the Metropolitan Museum of Art, the Philadelphia Print Club, the Philadelphia Color Print Society, the Seattle Art Museum, the National Academy of Design, and the Library of Congress. During the 1960s, Pytlak taught drawing, painting, and screen printing, and ran a class for disabled students for the New York State Rehabilitation Department. 108 works at <a href="https://www.philamuseum.org/collection?artist=Leonard%20Pytlak">Philadelphia Museum of Art</a>. 22 works at <a href="https://www.nga.gov/artists/5289-leonard-pytlak/artworks">National Gallery of Art</a>. 8 works at <a href="https://americanart.si.edu/artist/leonard-pytlak-3901">The Smithsonian American Art Museum</a>. 1 work at <a href="https://www.mmoca.org/artist/leonard-pytlak/">Madison Museum of Contemporary Art</a>. 4 works at <a href="https://collections.mfa.org/search/objects/*/leonard%20pytlak">Boston Museum of Fine Arts</a>. 3 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Leonard+Pytlak">Brooklyn Museum</a>. 24 works at Metropolitan Museum of Art. 7 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-40" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Pytlak, Leonard (1910–1998) 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 c. 1935 Contributor An entity responsible for making contributions to the resource Singer, Ella (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Musueum, Mount Morris NY Object #FA 84 Type The nature or genre of the resource Still image Federal Art Project Leonard Pytlak lithograph New Deal Museum Urban Setting https://openvalley.org/files/original/d10dca33ea5d62c11c411a8f0bfe5b67.jpg cd07d1ddb9c11041775bb133f3dbb740 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 Photograph 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 Astoria Park Swimming Pool, Bird's Eye View Looking North Creator An entity primarily responsible for making the resource New York Department of Parks Publisher An entity responsible for making the resource available NYC Department of Records and Information Services Date A point or period of time associated with an event in the lifecycle of the resource 1935-09-23 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a class="metadata-link new-primary new-primary-tint-hover" href="https://nycrecords.access.preservica.com/?s=&hh_cmis_filter=oai_dc.source%2FREC0125+New+York+City+Department+of+Parks+photographs++&saved_filters=oai_dc.source%2FREC0125+New+York+City+Department+of+Parks+photographs++" title="More like this">REC0125 New York City Department of Parks photographs </a> Format The file format, physical medium, or dimensions of the resource jpeg, 5.9 MB Description An account of the resource Construction of the swimming pool at Astoria Park, Queens was facilitated by funding from the Works Progress Administration (WPA), arriving just as Robert Moses became Commissioner of Parks for New York. Swimming in the East River at Hell Gate resulted in numerous drownings, and social standards had changed enough during the 1920s to enable mixed-gender bathing. This was the most famous of several built during the mid-1930s: an Olympic-sized pool (in fact used as the siet of US trials for the 1936 Olympics), along with a diving and a children's pool. It could accommodate a staggering 5,000 visitors. The photograph here shows the pool under construction in 1935, which was completed within a year. The Hell Gate Bridge can be seen in the background. It's of interest because it may have been the location for <a href="https://openvalley.org/items/show/2174" target="_blank" rel="noopener">Sol Wilson's 1935 painting Cement Plant</a>, facilitated by the Federal Art Project. Type The nature or genre of the resource Still image Astoria Park Hell Gate Bridge swimming pool Works Progress Administration https://openvalley.org/files/original/129066cf8bc4508bced4de781471705c.jpg 932570e8ccf18d7549e3b5730b670414 https://openvalley.org/files/original/c42d58bd8d33d7877b47ffe2da8011ce.jpg 53866ca7f87f9f7b655a8cf8ae6f147b 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 Window: 19 3/4 x 15 3/4 in. Sheet: 21 1/2 x 17 1/2 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 Cement Plant Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 971 KB Description An account of the resource Three men are working in the yard of a cement and tar factory, located alongside a river; they lean into their work of moving large drums. There are small smokestacks on the building and tugs hauling barges in the background. Wilson uses asymmetrical lines, oriented in different directions, to shape the composition—including rooflines, roadways, river banks, lines of barrels, and even stacked pallets. The factory building is radically compressed into geometric shapes. Considering its industrial subject matter, the painting’s earth tones and splashes of pastel colors are visually pleasing and harmonize with the river and buildings on the opposite shore. The distinctively shaped bridge suggests that it might be one located at Hell’s Gate, in which case there is an intriguing historical possibility: at this time, WPA funds were constructing <a href="https://openvalley.org/items/show/2175">a massive swimming complex at Astoria Park</a> that required a lot of concrete. Juxtaposing that job site and Wilson’s painting clarifies the choices he made to idealize the worth of public works and a return of employment. Note: records indicate that this painting was allocated to "Sen. Buckley." This may have been <a href="https://en.wikipedia.org/wiki/John_L._Buckley" target="_blank" rel="noopener">John L. Buckley</a>, who represented NY State Senate District 15 between 1927 and 1942. Creator An entity primarily responsible for making the resource Wilson, Sol (1893 - 1974) 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 Hudson, Timothy (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 138 Type The nature or genre of the resource Still image Astoria Park Federal Art Project Hell Gate Bridge New Deal Museum painting Sol Wilson https://openvalley.org/files/original/5de1c225808b362a8970e3b04c1aba0b.jpg 49f45be47ba23d9bc8ee2b80724f6622 https://openvalley.org/files/original/62feed3e8e1671e46871a6a0a1bc3340.jpg 824bb1407403829bb68a315cd0e777fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image 15 1/2 x 11 1/2 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 River Front Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 843 KB Creator An entity primarily responsible for making the resource Weiner, Isadore (1910 - 1964) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1553 Type The nature or genre of the resource Still image Federal Arts Project industrialization Isadore Weiner lithograph New Deal Museum https://openvalley.org/files/original/48f86a50f009bd084b61c33b596e56ea.jpg 5900118ee2a32e646d1f65e86090cdf1 https://openvalley.org/files/original/6c4bee099f04be4b74f0c00dcd15f09b.jpg 493cfb5f6ce76f3c9cc1cace76d7ba4c 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 Drypoint engraving 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 Manhattan from Brooklyn Creator An entity primarily responsible for making the resource Borne, Mortimer (1900 - 1987) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1941 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photographer) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 27302 Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 488 KB Type The nature or genre of the resource Still image Drypoint Federal Art Project Manhattan Mortimer Borne New Deal Museum https://openvalley.org/files/original/ec0663ec8aba2dfb5523f6fd1033f3fa.jpg 145678f6b0f5bad93e84190e4c01fc47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas painting Physical Dimensions The actual physical size of the original image Canvas: 30 x 24 in. Frame: 36 x 30 1/2 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 Ridge Creator An entity primarily responsible for making the resource Nelson, (Ernest) Bruce, 1888 - 1971 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 832 Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg, 1.4 MB Type The nature or genre of the resource Still image Bruce Nelson Central Park Federal Art Project New Deal Museum painting https://openvalley.org/files/original/9a0a4290d4c95ffb8c130cc233d7a4ca.jpg 3ef4e6f559c1db812e61ac723d67c6c6 https://openvalley.org/files/original/35a972bf20af6fff4715c68b5d188279.jpg 703485651b3ec708031495ef16cd84d5 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 Etching on paper 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 Old Shed Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 1.2 MB Description An account of the resource At first glance, everything about Weissbuch's etching indicates rural squalor and decline. Fallen tree limbs and roughly cut stumps are scattered across the composition; even standing trees seem to be in a state of decay. The shed itself has been constructed of bricks and roughly cut limbs for its roof joists. Only a man tucked into the frame at far right shows that the structure still is in active use. For all of that, however, it still looks sturdy and tucked into the side of this hill. Weissbuch uses darker, denser lines to portray the foreground, which is set against a conventionally picturesque valley in the background, delineated with a few lighter strokes to indicate a fence and farm- or pastureland. One implication is that a close-up visit to any location in this rural area will provide a similarly unrefined view: the reality of rural America exceeds pastoral fantasies or squalid ruins. About the Artist The son of Romanian immigrants, Weissbuch grew up in Brooklyn and already was working at a hat factory by the age of fifteen. Weissbuch studied at the Yale University School of Fine Arts, the Beaux-Arts Institute of Design, and the Art Students League (where he likely encountered the influential abstractionist Hans Hoffman). Beginning in 1934, Weissbuch worked on various WPA programs for seven years (Public Works of Art Project, Temporary Emergency Relief Administration, Federal Art Project), altogether producing 23 recorded prints. His works were widely exhibited in New York (including MoMA, the Brooklyn Museum, and Albright-Knox Museum), along with traveling shows to California, England, and Scandinavia. Weissbuch also became an important mentor within the Graphic Arts Division. For a short time he was appointed its supervisor, and along with his predecessors was “liked and respected by the artists. They showed sympathy and understanding and stood up for the artists under the pressures of the Project administration, which in turn was under political pressure” (Kainen 170). One such pressure by the late 1930s was a call for graphic works supporting European Allies and military preparation, rather than landscapes or social criticism. Late in 1941, Weissbuch began teaching at the newly established <a href="https://en.wikipedia.org/wiki/Munson-Williams-Proctor_Arts_Institute" target="_blank" rel="noopener">Utica Art School</a>, created by the Munson – Williams – Proctor Arts Institute. Its egalitarian mission announced that faculty, “when executing their own professional work, will welcome students and the general public who may thus observe their methods in practice” (Art Digest 1 Dec. 1941: 29). Alongside American art generally, Weissbuch’s work during the 1940s moved in a direction of increasing abstraction—for example, <a href="https://munson.emuseum.com/objects/1932/backyard-in-summer?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=3" target="_blank" rel="noopener">“Backyard in Summer”</a> (1942) and <a href="https://munson.emuseum.com/objects/10524/rooftops-no-1?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=1" target="_blank" rel="noopener">“Rooftops, No. 1”</a> (1943)—and then fully embraced it by the end of his life in works like <a href="https://munson.emuseum.com/objects/1057/sea-motif?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=2" target="_blank" rel="noopener">“Sea Motif”</a> (1948). Given Weissbuch’s fascination with motific patterns and textures seen in FAP prints of the 1930s, though, perhaps abstraction makes sense as a latent potential within his earlier work. He was a brief, but meaningful influence upon the Pop artist Robert Indiana, who took classes at the Utica Art School while stationed near there in the amy (Ryan 271). But it seems there had been many other apprentices taught by Weissbuch along the way. 18 works at the <a href="https://www.philamuseum.org/collection?artist=Oscar%20Weissbuch" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 2 works at the <a href="https://www.nga.gov/artists/34125-oscar-weissbuch" target="_blank" rel="noopener">National Gallery of Art</a>. 2 works at the <a href="https://americanart.si.edu/artist/oscar-weissbuch-5309" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 works at <a href="https://munson.emuseum.com/search/Weissbuch" target="_blank" rel="noopener">Munson Museum</a>. 1 work at the <a href="https://digital.wolfsonian.org/node/67534?search_api_fulltext=weissbuch" target="_blank" rel="noopener">Wolfsonian-FIU</a>. 4 versions of “Gypsy Fortune Teller,” illustrating stages of the woodcut printing process, at <a href="https://dac-collection.wesleyan.edu/artist-maker/info/38000" target="_blank" rel="noopener">Wesleyan University Davison Art Collection</a>. 5 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-54" target="_blank" rel="noopener">FAP</a>. Works Consulted: Olga M. Viso, “The Golden Age of American Printmaking, 1900-1950”  (1994), courtesy TFAO <a href="https://www.tfaoi.org/aa/9aa/9aa175.htm" target="_blank" rel="noopener">Link</a>; Edward Lewis, “3 Shows Open at Print Club,” Philadelphia Inquirer 27 Mar. 1938: 16; Jacob Kainen, “The Graphic Arts Division of the WPA Federal Arts Project,” in The New Deal Art Projects: An Anthology of Memoirs, ed. Francis V. O’Connor (1972) <a href="https://archive.org/details/newdealartprojec0000unse_m0q7/page/154/mode/1up" target="_blank" rel="noopener">Link</a>; Susan Elizabeth Ryan, Robert Indiana: Figures of Speech (2000); Peter Hastings Falk, ed., Who Was Who in American Art (1999) <a href="https://archive.org/details/whowaswhoinameri0003unse/page/3507/mode/1up" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Weissbuch, Oscar (1904-1948) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1942 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 27776 Etching Federal Art Project New Deal Museum Oscar Weissbuch rural Squalor https://openvalley.org/files/original/cd26e99e03b402acf674faab4f127684.jpg 16b61eb39d2286fef6efd23040764dc7 https://openvalley.org/files/original/e772e2fae777b883eb51373263afedb4.jpg 8d1b14e83edfb1de8b954f3a57e82191 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas painting Physical Dimensions The actual physical size of the original image Image: 29 1/2 x 23 1/2 in. Framed: 35 1/4 x 29 1/4 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 Old Glass Factory Description An account of the resource Old Glass Factory depicts a rural landscape featuring a small unconventional factory settled within a deep valley. In the foreground, a dirt path curves from the lower left corner of the piece, drawing the viewer's eye into the midground and focus of the scene. In the midground, two thin, tall trees with autumn leaves stand parallel to each other framing the main building behind them, providing a sense of balance in the painting despite its overall asymmetrical composition. In the background, we see an extension of the hilly landscape that creates an image of isolation as the structures stand alone in the open hills.   Smith uses contrast to distinctly separate the foreground from this landscape backdrop. The hills fading into the skyline with a similar color palette amongst them forces the land closer to us to pop as it’s more saturated.   As far as technique, Smith uses a combination of broad blended brushstrokes in the background to soften forms and reinforce the perspective. On the factory building itself, however, he utilizes thinner, controlled brush strokes to create sharper lines that accentuate the important foreground subjects. He uses color to create a quiet, fresh, calming atmosphere. Warmer tones dominate the piece however the natural aspects of the piece such as the grassy hills and the autumn trees, contrast the manufactured structures that are made up of deeper and more neutral tones.   About the Artist The painter of this work cannot be attributed with confidence, as yet, in part due to three artists with the same name and a lack of clear provenance. One candidate is Edward Gregory Smith (1880-1961), a Connecticut landscape painting and longtime president of the Lyme Art Association. Consultation with that organization noted that he signed his work as "Gregory Smith" and, as a lifelong Republican, probably would have been hostile to participation in Roosevelt's Federal Art Project.  Another candidate is Edward Herndon Smith (1891-1979), a painter from Mobile, AL who was employed in the FAP as an artist (1935) and then superviser (1936-1940). He continued to paint and create murals after WWII. Research into this possiblility is ongoing. Finally, Edward Leslie Smith (1891-1960) was a commercial artist in Oakland, CA but had no documented connection to the FAP. Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.5 MB Creator An entity primarily responsible for making the resource Smith, Edward 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 Killelea, Keira (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 820 Type The nature or genre of the resource Still image Edward Smith Federal Art Project New Deal Museum painting rural