10 10 1402 https://openvalley.org/files/original/f1a2351b45a040feaf4a22d44b5240ee.jpg ecf410230d86390964eb37393f4dba44 https://openvalley.org/files/original/1d289b44cb43c1b8b95b52b99b3ec955.jpg 2f39ac13609db35ec343169e89ae06a2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting on canvas Physical Dimensions The actual physical size of the original image 24 x 30 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 Autumn Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.7 MB Creator An entity primarily responsible for making the resource Rites, Marion B[ushanse] (1900 - ?) Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Harrington, Gwenyth Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 819 Description An account of the resource In Autumn Landscape, at first glance, the viewer appears to be standing on a riverbank, looking into a dense and active landscape. The foreground is filled with thick foliage, where leaves are depicted through repeating oval shapes and emphasized with strong, dark outlines. These energetic brushstrokes suggest movement, as if wind is passing through the trees. In the middle ground, partially hidden by the leaves, a wooden cabin and small boat with a fisherman come into view. Although obscured at first glance, these elements remain present and distinct, encouraging closer observation. In the background, the sky is soft and muted, providing contrast to the vivid colors of the surrounding foliage. Rites’ composition is evenly arranged, with trees and plants spread across the scene creating a calm and peaceful setting. The bright greens, oranges, and blues maintain their intensity throughout the painting, rather than fading into the distance. This approach reflects the influence of Paul Cézanne, particularly in the use of color to build form and create this seasonal scene. Furthermore, the dense layering of leaves and overlapping forms fills out nearly the entire picture, leaving little space to spare. Overall, the work presents an upbeat and immersive view into the nature of an organic Autumn Day. About the Artist Unfortunately, little information is known about this artist. He was born in 1900 in Ithaca, NY, the son of <a href="https://babel.hathitrust.org/cgi/pt?id=uc1.c2632388&seq=555&q1" target="_blank" rel="noopener">a renowned engineer</a> who had become wealthy from his patents. Rites’ parents separated, however, and his father died while Marion was still a teenager. He attended Ithaca High School and graduated from Cornell University in 1922. There are indications that he studied art in Paris and painted in Touraine, the Riviera, and Northern Africa (“Paintings”). His works were exhibited in 1932 at the <a href="https://www.mahj.org/en/decouvrir-collections-betsalel/galerie-de-la-renaissance-6585" target="_blank" rel="noopener">Galerie de la Renaissance</a> and received favorable mention for their cosmopolitanism and “painterly temperament” (Dictionaire). Rites was influenced by the French Impressionist <a href="https://www.nationalgallery.org.uk/artists/paul-cezanne" target="_blank" rel="noopener">Paul Cézanne</a>, including his bold brushstrokes; use of muted and earthy tones, greens and blues; and his thick application of paint. Along with another artist, David Dorfman, Rites illustrated a 1941 WPA children’s book titled <a href="https://searchworks.stanford.edu/view/in00000129820" target="_blank" rel="noopener">Tales of Old New York,</a> published by the New York Board of Education. Little is known about this artist beyond the works he left behind. His date of death is also unknown. 4 works at the <a href="https://art.gsa.gov/artworks/725/still-life-with-cigarette?ctx=937f730ef375fb1b8257b0d4fd42b9f8faf23648&idx=307" target="_blank" rel="noopener">U.S. General Services Administration</a>. 2 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-18" target="_blank" rel="noopener">FAP</a>. Works Consulted: “Paintings of Marion B. Rites, Former Ithaca Resident, Are Favorably Mentioned Abroad,” Ithaca Journal 19 Dec. 1933: 7; <a href="https://archive.org/details/bwb_S0-BKW-886/page/211/mode/1up" target="_blank" rel="noopener">Dictionaire Biographique des Artistes Contemporains</a> (1934). Date A point or period of time associated with an event in the lifecycle of the resource ca. 1937 Type The nature or genre of the resource Still image Federal Art Project Landscape Art Marion Rites New Deal Museum https://openvalley.org/files/original/20f5832130e7e2d1a6ece97485c641a2.JPG bc7130bae6c974ffbd00535271f85022 https://openvalley.org/files/original/99d7422c81fd01b63bab693ac818f014.JPG dff452101cdfc8a25319d31b8458512b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 16 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Autumn Leaves Description An account of the resource Delicate, minimalist still life depicts a vase of cut stems from trees and plants. In keeping with the season—but also reminding us of time’s passage—two leafs have fallen upon an unadorned table. McEvoy’s flattened background transforms the leaves into an arrangement of color and form; a seemingly glowing, ruby-red globe is at once part of the autumnal pallette and an object of fascination in its own right. About the Artist: What’s known of McEvoy is very limited and seems to reflect the limited opportunities for women artists during her time. She was born in Dubuque, IA, and appears to have studied at the Art Institue of Chicago. By the 1930s her name is mentioned in newspaper items as a teacher at the Queensborough Community Art Center; reading poems or reading palms at a Woodstock summer fundraiser. Her paintings “Allegro” and “Intime”  were shown at the Woodstock Art Gallery; “The Willow Tree,” “Paradise,” and “Flowers” at the Larkin House, Ossining, NY. At one of these shows her work was exhibited along with NDG artist Erna Lange, and it’s interesting to imagine that the two women might have met. During 1937 McEvoy worked for the “Gallery Tours” division of the Federal Art Project: “Miss McEvoy will describe the techniques of etching, aquatint, and lithography, and a demonstration of the printing of a lithograph will take place” (Daily Worker 13 April 1937: 7). Creator An entity primarily responsible for making the resource McEvoy, Myrtle S., 1892-1973 Publisher An entity responsible for making the resource available Federal Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18203 Format The file format, physical medium, or dimensions of the resource jpeg, 968 KB jpeg, 10.3 MB Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 110 Federal Art Project Myrtle McEvoy New Deal Gallery painting still life https://openvalley.org/files/original/6b2b5c576548e31f8a6f416027850c71.jpg d0c986961ffd8aae735ada083927517e 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 28 x 18 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 Autumn on the Delaware Date A point or period of time associated with an event in the lifecycle of the resource 1875? Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Private collection, Pittsburgh, Pennsylvania. [With]Hirschl & Adler Galleries, Inc., New York, Acquired by the present owner from the above, 1990. <a href="https://commons.wikimedia.org/wiki/File:Thomas_Worthington_Whittredge_-_Autumn_on_the_Delaware.jpg" target="_blank" rel="noopener">Via Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 869 KB Description An account of the resource We pause during a still moment, seemingly at dawn or dusk, as seven deer come to the Delaware River for water. Its placid surface and enclosure on all sides organizes the space; through a gap in the trees we behold mountains in the distance. Whittredge usually is grouped with other Hudson River School painters, and we see some characteristic techniques in this work: a vision of nature untouched by humans, fallen trees and snags to contrast his more scenic elements. Creator An entity primarily responsible for making the resource Whittredge, Thomas Worthington, 1820-1910 Type The nature or genre of the resource Still image Delaware River Hudson River School painting Thomas Worthington Whittredge Watersheds https://openvalley.org/files/original/975dfdfcf84d680006e60bafa69db0e8.jpg ec1557708ae8217cb25e6012e9bb4db6 https://openvalley.org/files/original/fa245e7917128257f6e5e9b16fdb9b56.JPG a9d615eb3b56f08a880f24b7897b0298 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Autumn Road Creator An entity primarily responsible for making the resource Jacoby, Samuel 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 1937-03-12 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 #FA18176 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 15.3 MB Description An account of the resource Whereas other paintings may have smoothed out some of the elements in this classic northeastern fall landscape, Jacoby creates a network of lines. We see them as stone walls in the fields below, tree trunks and branches (and their many shadows), and two telephone poles. The grid is not strictly Cartesian, but many locations in the landscape can be mapped out in this manner; the exceptions are a range of mountains, a barn, and several orange-leafed trees. About the Artist: We haven’t located much reliable information about this artist. His work was exhibited at the Municipal Art Committee in1937. Judging from the locations of his paintings for the Federal Art Project, Jacoby seems to have worked in or near New York City. 8 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-42">FAP</a>. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 086 Federal Art Project New Deal Gallery painting Samuel Jacoby https://openvalley.org/files/original/e8e1fdfa7f714e74a7effadab85853bc.jpg b19b09a49207cde60b5080b46b405bfc 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 Autumn-Central Park Creator An entity primarily responsible for making the resource Kadulin,Vladimir, 1884-1957 Description An account of the resource Kadulin, Vladimir Fedorovich (1884-1957)  Born in St. Petersburg, Russia, Kadulin attended art schools in Moscow and Kiev, then turned to a career as a cartoonist for one of Petrograd’s leading newspapers. Postcard versions of his cartoons became very popular. His work seems to have been a mix of political and social satire—for example a “drunken series” or “student types”—and it seems likely that his irreverent sense of humor is what led him to flee the Soviet Union. At this point information becomes scarce. In 1924, five of Kadulin’s caricatures appeared in a New York Times story on<a href="https://nyti.ms/2S6b0ih"> “Festivals and Parades in Russia”</a>; lacerating images of (for example) a “Red Army Soldier in Full Regalia,” bottles of alcohol in each hand, suggest that he was deeply critical of the new regime. There is record of Kadulin being hired in 1926 by a new Tampa restaurant named Katinka to create interior and exterior wall murals using his talent for caricature. It’s quite possible that he lived in Tampa for a period: he traveled to Florida by way of Cuba in 1930, was married in Havana 1931, then traveled again to Florida 1932. Kadulin became a US citizen in 1938. As of 1942 he was living in New York City, then in New Rochelle as a commercial artist. 42 caricatures at<a href="https://commons.wikimedia.org/wiki/Category:Caricatures_by_Vladimir_Kadulin"> Wikimedia</a>. 5 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6"> FAP</a>.         Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132. 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 1944 Contributor An entity responsible for making contributions to the resource Ramsay,Elizabeth Source A related resource from which the described resource is derived New York City W.P.A. Art Project Photography Division 110 King Street Accessed at:<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6">https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6</a> Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Photograph of a Painting https://openvalley.org/files/original/8e137ef326f4ea90114effc5a894816f.jpg 71be20770b32a8034cdeaa22f4dbcd9c https://openvalley.org/files/original/b39647db530a3caac7c2ac1cf21ed978.jpg 5ca91f6749b8c3746d7fcfa16e0f58c9 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 Avon Cemetery https://openvalley.org/files/original/8d3bea16ff6a45d78fc6844b374d8703.JPG 83aa2b50794f8fba6a7897e720866cfd https://openvalley.org/files/original/5da6189e7ee1ff02a592033a87cb2b03.jpg becd2e6a8c9b90ba03ade042f48844dd 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 Physical Dimensions The actual physical size of the original image 2448 x 3264 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 Avon Free Library Description An account of the resource Avon Free Library was used to house students after the school fire in 1961. Four kindergarten classes were taught there for two years. Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Comerford, Danielle Format The file format, physical medium, or dimensions of the resource jpeg 4 MB Type The nature or genre of the resource Still Image avon free library Avon, NY school school fire https://openvalley.org/files/original/9bd1b3ff54d828b7df99429b9c9bedb0.jpg 4a307daf824a7c2e566ebf176d6dfc39 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. 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 Avon High School Description An account of the resource Until 1907, high school students in Avon attended classes in a building constructed in 1841. It was built as the Avon Academy for young women, then purchased by the village in 1867 as the Avon Union Free School, and finally renamed the Avon High School in 1895. As Avon grew in size, the need for a larger, modern school became evident. This postcard dates to the decade after construction of the new brick schoolhouse, which added music, domestic science, and athletics to its curriculum. New wings were added in 1929 and 1936, with the original structure becoming a 28-room elementary school. On 27 October 1957, the aging school already described as a "fire trap" burned to the ground. Teachers leery of the the building's danger had routinely practiced fire drills, and all 450 students escaped safely. Firefighting efforts were concentrated on saving the two newer wings. At the time of the fire, Irene Coleman was the Elementary School supervisor and by 1961 had become the school's principal. Her memories of the fire and its aftermath <a href="https://openvalley.org/exhibits/show/mediums--recovering-voices-fro/item/446" target="_blank" rel="noopener">are recounted in an oral history</a>. Work Consulted: Don Fradenburgh, "They Didn't Know it Was Afire," Rochester Times-Union 28 Oct. 1961: 1 Publisher An entity responsible for making the resource available Valentine Souvenir Co. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1923 Contributor An entity responsible for making contributions to the resource Pellegrino, Eba Format The file format, physical medium, or dimensions of the resource jpeg, 627 KB Type The nature or genre of the resource Still image Source A related resource from which the described resource is derived Courtesy Ken Cooper avon historical society Avon, NY fire oral history school https://openvalley.org/files/original/f429fd9f74a1cad787517ee452837e51.jpg ecd824f0723bb5ea72effba4b789bc5a 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 Physical Dimensions The actual physical size of the original image 730x458 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 Avon Movie Theater Description An account of the resource Contemporary photograph of the now-vacant Avon movie theater. It was built at the end of the silent movie era, in 1930s Avon New York. Creator An entity primarily responsible for making the resource Bettina, Anthony Date A point or period of time associated with an event in the lifecycle of the resource 2016-05-12 Format The file format, physical medium, or dimensions of the resource jpeg, 239 KB Contributor An entity responsible for making contributions to the resource Bettina, Anthony Movie Theater, Avon New York, East Genesee Street, 1930s https://openvalley.org/files/original/6077b504866b2c44b75a8ad205808d71.jpg 9e76cc31a4e2618fc0d8ba60c1de4b74 https://openvalley.org/files/original/d21374b9ec40e447c3666cad1a93e236.jpg 9b1ad7d8ff949b1add11512d9168399e 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 Avon Soldiers Monument