11 10 1402 https://openvalley.org/files/original/59ba4bace164c0644a136c71aa5301e5.png 7c214bd2732db4a84b5c2faee9635a00 https://openvalley.org/files/original/b94c08942783b0d7971c443e62e0a4e5.png af7a23b4accb19651a21922ace0a6af4 https://openvalley.org/files/original/5b497f968bd5864299784a5aedd81357.png 795d69a1c37b0b050a050b918d5c8256 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 Drawing from Van Vorst's article "The Woman that Toils" Description An account of the resource Drawing of two women and a chaise titled "after Saturday night's shopping" Creator An entity primarily responsible for making the resource Bessie Van Vorst Publisher An entity responsible for making the resource available Everybody's Magazine Date A point or period of time associated with an event in the lifecycle of the resource 1902 Contributor An entity responsible for making contributions to the resource Emma Raupp Source A related resource from which the described resource is derived Everybody's Magazine Format The file format, physical medium, or dimensions of the resource jpeg, 637KB Type The nature or genre of the resource Still Image van vorst 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/16e4aede82a6b859336404a8152ae9ef.jpg 4a0cafb4aaecc498e133dc1a53cd6676 https://openvalley.org/files/original/7b24df90977d2ab69aaab9d7aa7bea81.jpg c9aec3489c0c57e0bec5fe64defa4ec5 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 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 Mohawk River, New York Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 3.4 MB Source A related resource from which the described resource is derived Portland Art Museum, Portland OR <a href="https://commons.wikimedia.org/wiki/File:Mohawk_River,_New_York,_by_Albert_Bierstadt,_1864,_oil_on_canvas_-_Portland_Art_Museum_-_Portland,_Oregon_-_DSC08750.jpg" target="_blank" rel="noopener">Photograph by Daderot, via Wikimedia Commons</a> Creator An entity primarily responsible for making the resource Bierstadt, Albert, 1830-1902 Date A point or period of time associated with an event in the lifecycle of the resource 1864 Contributor An entity responsible for making contributions to the resource Cooper, Ken Description An account of the resource This painting, seemingly located on the upper Mohawk River, assumes a timeless, mythical quality. Bierstadt was one of several second-generation Hudson School artists associated with "luminism," a technique using aerial perspective and moisture-saturated air to create an otherworldly glow. Here, we see four cattle watering in a river so calm it reflects the surrounding forest. No signs of the humans who graze them are visible. At left a white steer stands apart, illuminated in a beam of sunlight. Its nearly mythical quality may reference Greek mythology and the metamorphosis of humans into animal form--whether <a href="https://en.wikipedia.org/wiki/Io_(mythology)" target="_blank" rel="noopener">Io transformed by an angry Hera</a> or <a href="https://en.wikipedia.org/wiki/Europa_(consort_of_Zeus)" target="_blank" rel="noopener">Zeus transorming himself to rape</a> Europa. Type The nature or genre of the resource Still image Albert Bierstadt Landscape Art Mohawk River painting Watersheds https://openvalley.org/files/original/8a5585bb8bfe612d3d0071f74da39610.jpg bdc1e421b738e3c2a54fe45befac35c1 https://openvalley.org/files/original/023df2ac26c9eceffc2815ba75efdb57.jpg 7896f5a007cbd3d4ad914d1155d94ded 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 Window: 10 1/4 × 12 1/2 in Sheet: 11 3/8 × 15 7/8 in. Mat: 18 × 20 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB jpeg, 925 KB Title A name given to the resource Garment Workers Description An account of the resource Blacks and grays are used to create a scene of women working in a factory at sewing machines. Birkin uses this monochrome palette to create a sense of weariness: no light comes in through the dark windows, leaving miserly electric lights inside to shine down on the employees and their work. This dramatic disparity in lighting gives us the impression that they have spent hours inside the factory to earn what they can. Despite a feeling of weariness that the darkness conjures, there is also a strange calmness to the print, despite what would be a noisy and hectic factory. A grid of electric cords separates viewers from the workers, almost like looking in through a window. There is also a separation of the workers as well, through these wires as well as the lighting. We pick out individual workers and see them separately, rather than as a connected unit. While it's dark outside, the women do not seem to be panicked or worried about the passing time. They are calmly and stoically doing the work that needs to be done. About the Artist Born in Philadelphia, PA, Birkin was a talented artist who created pieces in many different styles and mediums. His studies kept him near home during the 1930s, learning first at the Fleischer Memorial Graphic Sketch Club for six years before attending the Philadelphia Museum College of Art. This education gave him a solid foundation in muralism, drawing, and painting; by 1939 he was exhibiting his tempera painting, Cotton Pickers, at the New York World’s Fair. Birkin was employed by the Federal Arts Project between 1940 and 1942. He worked in watercolors, oils, and prints, exhibiting mostly in the Philadelphia area: the Philadelphia Museum of Art, Free Library, United Artists Gallery, Civic Theater, and various private galleries. Birkin also designed and painted several murals—at the Aberdeen Proving Grounds, Fort Meade, MD; at the Philadelphia Zoological Gardens; and one entitled “Juarez and Lincoln” at the Navy Department Building in Mexico City—none of which still exist, so far as we know. Over the next forty years, he continued both his own education (a master’s in fine arts from Temple University in 1952) and taught high school students in New Jersey for more than twenty years. Birkin’s works were shown at the Metropolitan Museum of Art, the National Academy, and the Brooklyn Museum, along with various one-many shows at the Morris Gallery, New York. A detailed appreciation and extensive gallery of Birkin’s art is available at a <a href="https://www.mortonbirkin.com/">website</a> created by his son, David Birkin. Creator An entity primarily responsible for making the resource Birkin, Morton (1919-1984) 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 Secor, Caleb (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 190 Type The nature or genre of the resource Still image Art Education Federal Art Project Morton Birkin 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/7b3933cef0ebaf247aa8410cbe00de51.jpg 2a892c748b715687969038ab2119b444 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life With Wildflowers Creator An entity primarily responsible for making the resource Blumenfeld, Maurice 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) Cannioto, Sydney (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Art Gallery, Genesee Valley Council on the Arts Object #FA18118 Format The file format, physical medium, or dimensions of the resource Jpeg, 849 KB Description An account of the resource This painting features a vase of flowers and a spilling fruit bowl on an upholstered chair. The left half of the painting is busier than the right, which gives a sense of unbalance. Warm colors are used, such as reds and pinks, and brush strokes are visible. The objects seem stranglely placed and slightly disharmonious, as vases and fruit bowls are not usually displayed on chairs.  About the Artist: Born to Russian parents in Tours, France, Blumenfeld immigrated to Brooklyn when he was three years old. He was a child prodigy, painting oils in his bedroom by age 10 and giving one of his paintings to President Franklin Roosevelt at age 15. In 1936, at age 17, Blumenfeld submitted his oil painting “Refreshments” to a prestigious National Academy of Design contest; the committee, apparently mistaking him for a messanger, awarded the work its Julius Hallgarten prize for artists under 35. Meanwhile, Blumenfeld was president of his high school oil painting club and voted “most modest boy” by its senior class (Brooklyn Daily Eagle 17 Mar. 1936: 3). After graduation, Blumenfeld worked for the Federal Art Project before enlisting in the US Army in 1940. After World War II, becomes a commercial artist for Triple Nickel Books (on its Davy Crockett series); for Topps Baseball Cards (in 1953); and Topps Trading Cards including Western Round Up, Mars Attacks, Battle, Batman, and Civil War News. Many of these series now are highly sought after by collectors. 1 work at the <a href="https://www.nga.gov/collection/artist-info.7269.html" target="_blank" rel="noopener">National Gallery of Art</a>, which was created for the <a href="https://www.nga.gov/collection/artist-info.7384.html" target="_blank" rel="noopener">Index of American Design</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-6" target="_blank" rel="noopener">FAP</a>. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 028 Federal Art Project Maurice Blumenfeld New Deal Gallery Oil on Canvas painting https://openvalley.org/files/original/3eac22eebbf326fd280a515974dae3e5.jpg 41d4a0be1a5c0774b7cdea6ad8fdbb94 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 7 x 5 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 Carl & Lucille Moore in their Backyard at Moore Camp, Wayland Description An account of the resource Carl Moore was the "crew leader" for Roy Gibson's farm near Wayland, NY. What this title meant is that he served as an intermediary between farmer and migrant farmworkers: he recruited them (from Florida) and bused them up to New York; their wages from Gibson passed through Moore. Most crew leaders were notorious for exploiting workers by overcharging them for groceries and liquor; often, they deployed a couple of enforcers to maintain their power. Moore had a reputation as an unusually fair crew leader. In a 1981 article, Donna Balanger, Director of the Wayland Migrant Day Care Center, was quoted as saying that "The camp is more tightly run and the crew boss is fair with his people. What they earn, they get" (Peg Gallagher, "Migrant Workers," Elmira Star-Gazette 25 Oct. 1981: 5B). Creator An entity primarily responsible for making the resource Boettger, Elizabeth Publisher An entity responsible for making the resource available Steuben County Historical Society Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Dunbar, Matthew Format The file format, physical medium, or dimensions of the resource jpeg, 732 KB Type The nature or genre of the resource Still Image Geneseo Migrant Center Gibson Farm migrant housing Moore Camp https://openvalley.org/files/original/5d18dd0544eb9d8ab0f77e3335cfd23a.JPG dfddf0b6b8e22862a4b6153a3c41dcd0 https://openvalley.org/files/original/2334f01a05b2013028973f9885c31a7b.JPG fd6d7e73840fd4f4a343a4f49843b583 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 29.5 x 23.5 in. Condition: canvas torn, 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 Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 805 KB jpeg, 14.2 MB Description An account of the resource Under a pale sky, we look uphill along a crooked line of split-rail fences and melting snow toward a pair of dormant trees and farm buildings. Bolton’s close attention to Catskill landscapes is apparent in his treatment of patterns in melting snow; his training in sculpture gives the saturated drifts convincing solidity. Interestingly, he paints one of the buildings and the hillside using a virtually identical color, as if to draw greater attention to forms. Poking up through the snow are what appear to be plant shoots in the same color. About the Artist: Born in Wallingford, CT, Bolton studied sculpture at Yale’s School of Fine Artis beginning in 1913. After visiting a friend in Woodstock, Bolton concluded it was where he belonged; his emphasis changed to the visual arts, although still retaining a sense of form and mass that was one of his work’s most distinctive characteristics. Over the years he was productive in painting, woodcuts, linoprints, and lithography. His work was exhibited in fine arts venues like the Corcoran Gallery and the Art Institute of Chicago while still retaining popular appeal—for example, self-published collections of Christmas cards. During many years of Woodstock Artists Association shows, his work appeared alongside NDG artists like Erna Lang, John Nichols, and Jo Rollo. In 1937 he assisted Charles Rosen in the <a href="https://livingnewdeal.org/projects/post-office-mural-beacon-ny/" target="_blank" rel="noopener">painting of several murals</a> for the Beacon, NY post office. 8 works at the <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Bolton%2C%20Clarence/field/creatb/mode/exact/conn/and" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 9 works at the <a href="https://gallery.newarkmuseum.org/view/people/asitem/Objects@2526656/0/displayName-asc?t:state:flow=90cd978a-9309-40ba-b9bb-40a1b492ae24" target="_blank" rel="noopener">Newark Museum</a>. 2 works at the Metropolitan Museum of Art. Creator An entity primarily responsible for making the resource Bolton, Clarence [Wheeler], 1893-1962 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 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 #FA18872 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 210 Clarence Bolton Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/a2814969cb5964c9984c5ae08424e796.jpg c5a034decee2085c756c62c092bc0752 https://openvalley.org/files/original/20a04f2cb65ac65e5b87412254f7c9dc.jpg 6e1615e2a42b69b9a6c1fa4005e76ba8 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Paper ledger, 15 x 12.6 in. folded to 7.5 x 12.6 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 Genesee Valley Canal tolls paid by Wadsworth Mills, Avon, N.Y., November-December 1846 Description An account of the resource The first paragraph of this handwritten document written by B. Boorman reads "Sir The totals of last Month (Nov.) which was put on book the beginning of this Month I do not know if you have taken act of Therefore give it below[:] 17 Bus 30 lbs Wheat 7/- 20 Bus Provender 2/6 1 Bus Corn 4/-" The last paragraph states "The totals of this Month Dec are[:] 12 Bus 30 lbs Wheat 7/- 2 Bus Corn 4/- 1 Bus Buck Wheat 4/- 22 Bus Provender 2/-" The document also lists December returns from several local farms, including flour and other grain products produced at the mills. Creator An entity primarily responsible for making the resource Boorman, B. Date A point or period of time associated with an event in the lifecycle of the resource 1846-12-31 Source A related resource from which the described resource is derived Wadsworth Family Papers, Cabinet 1, Drawer 2 Milne Library Special Collections, SUNY Geneseo Format The file format, physical medium, or dimensions of the resource jpeg, 1.22 MB Type The nature or genre of the resource Text Genesee Valley Canal Grist Milling mills wadsworth 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 Description An account of the resource 12 images at <a href="https://art.gsa.gov/people/1000/mortimer-borne/objects" target="_blank" rel="noopener">GSA</a>. Drypoint Federal Art Project Manhattan Mortimer Borne New Deal Museum